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This is a full-length study 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.
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.
The reigning view of literary historians has been that the May Fourth movement of 1919 marks the division between the traditional and the modern in Chinese literature. This book argues that signs of reform and innovation can be discerned long before May Fourth, and that as China entered the arena of modern, international history in the late Qing, it was already developing its own complex matrix of incipient modernities. It demonstrates that late Qing fiction nurtured a creative, innovative poetics, one that was spurned by the reformers of the May Fourth generation in favor of Western-style realism. The author recognizes that a full account of modern Chinese fiction needs to ask why so many genres, styles, themes, and figures found in late imperial fiction were repressed by "modern" Chinese literary discourse. He focuses on four genres of late Qing fiction that have been either rudely dismissed in pejorative terms or simply ignored: depravity romances, court-case and chivalric cycles, grotesque exposés, and scientific fantasies. The author shows that in spite of the realist orthodoxy that has dominated Chinese literature since the May Fourth movement, these unwelcome genres have continually found their way back into mainstream discourse, their influence being increasingly evident in recent decades. This first comprehensive study of late Qing fiction discusses more than sixty works, at least half of which have rarely or never been dealt with by Western or Chinese scholars. Richly informed by contemporary literary theory, this book constitutes a polemical rethinking of the nature of Chinese literary and cultural modernity.
Most studies of Chinese literature conflate the category of the future with notions of progress and nation building, and with the utopian visions broadcast by the Maoist and post-Mao developmental state. The future is thus understood as a preconceived endpoint that is propagated, at times even imposed, by a center of power. By contrast, Tales of Futures Past introduces "anticipation"—the expectations that permeate life as it unfolds—as a lens through which to reexamine the textual, institutional, and experiential aspects of Chinese literary culture from the 1950s to 2011. In doing so, Paola Iovene connects the emergence of new literary genres with changing visions of the future in contemporary China. This book provides a nuanced and dynamic account of the relationship between state discourses, market pressures, and individual writers and texts. It stresses authors' and editors' efforts to redefine what constitutes literature under changing political and economic circumstances. Engaging with questions of translation, temporality, formation of genres, and stylistic change, Iovene mines Chinese science fiction and popular science, puts forward a new interpretation of familiar Chinese avant-garde fiction, and offers close readings of texts that have not yet received any attention in English-language scholarship. Far-ranging in its chronological scope and impressive in its interdisciplinary approach, this book rethinks the legacies of socialism in postsocialist Chinese literary modernity.
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.
A woman who spent more than six years in solitary confinement during Communist China's Cultural Revolution discusses her time in prison. Reissue. A New York Times Best Book of the Year.
In this fascinating, multidisciplinary volume, scholars of Chinese history, law, literature, and religions explore the intersections of legal practice with writing in many different social contexts. They consider the overlapping concerns of legal culture and the arts of crafting persuasive texts in a range of documents including crime reports, legislation, novels, prayers, and law suits. Their focus is the late Ming and Qing periods (c. 1550-1911); their documents range from plaints filed at the local level by commoners, through various texts produced by the well-to-do, to the legal opinions penned by China's emperors. Writing and Law in Late Imperial China explores works of crime-case fiction, judicial handbooks for magistrates and legal secretaries, popular attitudes toward clergy and merchants as reflected in legal plaints, and the belief in a parallel, otherworldly judicial system that supports earthly justice.
"China is so big and so diverse that, as in the proverbial blind man touching an elephant, contemporary descriptions that vary dramatically can all be true. Few visitors to glittering Shanghai of Shenzhen, for example, will get any impression of the gaping gray maw of the government's prison camp system that Philip Williams and Yenna Wu, basing themselves on a vast range of Chinese sources, illuminate in erudite detail. The authors look at every facet of the camps, place them within China's historical tradition, and compare them with modern analogues. Throughout, literary and autobiographical sources give the 'feel' for the deadening world of the camps."—Perry Link, author of The Uses of Literature: Life in the Socialist Chinese Literary System "The Great Wall of Confinement deals with issues ranging from the legal grounding—or the lack of any—of the Chinese concentration camp system, to its technical implementation, its discursive manifestation, and its physical as well as psychological impact. A book like this is long overdue. With this work, Williams and Wu have made an important contribution to the fields of Chinese legal and literary studies."—David Der-wei Wang, author of The Monster That Is History "The Great Wall of Confinement is an excellent book. It synthesizes an already significant corpus of writings on Chinese prisons and labor camps, marshals an array of literary sources as essential historical source materials, and compares the literature of Chinese incarceration with its Soviet and European counterparts. The value of this important study stems equally from its tone—a rare combination of a level-headed quality with a very fine sensitivity to the human tragedy recounted in this literature."—Jean-Luc Domenach, author of Où va la Chine? (Where does China Go?) "The Great Wall of Confinement has attempted to lift part of the veil on China's long lasting tragedy: the use of imprisonment, torture, forced labor against its citizens, whether criminals, feeble minded or simply political opponents. The angle is new; the question is to find out how Chinese have written on this subject, whether in fiction or reportage, the way they went about telling their stories, how much they said, or withheld. Through Philip Willams and Yenna Wu's thought-provoking analysis of such writings, of the cultural origins of forced labor and imprisonment in imperial and Communist China, one comes closer to this sinister reality, which remains to this day one of the best kept secrets of our planet."—Marie Holzman, President of the Association Solidarité Chine
“Fiendishly inventive.” —The Wall Street Journal Chengdu, China: The vibrant capital of Sichuan Province is suddenly held hostage when a shocking manifesto is released by an anonymous vigilante known as Eumenides. It is a bold declaration of war against a corrupt legal system, with Eumenides acting as judge and executioner. The public starts nominating potential targets, and before long hundreds of names are added to his kill list. Eumenides's cunning game has only just begun. First, he publishes a “death notice,” announcing his next target, the crimes for which the victim will be punished, and the date of the execution. The note is a deeply personal taunt to the police. Everyone knows who is going to die and when it's going to happen, but the police fail to stop the attack. The 4/18 Task Force, an elite group of detectives and specialists, is assembled to catch Eumenides before he strikes again. In the process, they discover alarming connections to an eighteen-year-old cold case, and they find out that some members of the team have much to hide.
Ch. 1. The tale of the early career of Rescriptor Bao -- ch. 2. Judge Bao selling rice in Chenzhou -- ch. 3. The tale of the humane ancestor recognizing his mother -- ch. 4. Dragon-design Bao sentences the white weretiger -- ch. 5. Rescriptor Bao decides the case of the weird black pot -- ch. 6. The tale of the case of dragon-design Bao sentencing the emperor's brothers-in-law Cao -- ch. 7. The tale of Zhang Wengui. Part one. The Tale of Zhang Wengui. Part two -- ch. 8. The story of how Shi Guanshou's wife Liu Dusai on the night of the fifteenth, on superior prime, watched the lanterns. Part one. The story of the judgment of dragon-design Bao in the case of Prince Zhao and Sun Wenyi. Part two.