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Lily is the daughter of a humble farmer, and to her family she is just another expensive mouth to feed. Then the local matchmaker delivers startling news: if Lily's feet are bound properly, they will be flawless. In nineteenth-century China, where a woman's eligibility is judged by the shape and size of her feet, this is extraordinary good luck. Lily now has the power to make a good marriage and change the fortunes of her family. To prepare for her new life, she must undergo the agonies of footbinding, learn nu shu, the famed secret women's writing, and make a very special friend, Snow Flower. But a bitter reversal of fortune is about to change everything.
A History of Modern Chinese Fiction was first published in 1961 and has ever since become a classic in the study of twentieth-century Chinese fiction. This volume accounts the development of Chinese fiction from the Literary Revolution in 1917 to the early 60s. C. T. Hsia delved into the works of important writers such as Lu Hsün, Pa Chin, Lao She, Eileen Chang, and Ch'ien Chung-shu. In Hsia's own words, "the literary historian's first task is always the discovery and appraisal of excellence," and in this belief he re-evaluated the important figures in modern Chinese literature, and "discovered" those who had not been given proper attention. To this day, A History of Modern Chinese Fiction is still a must-read for students interested in modern Chinese literature.
“Information” has become a core concept across the disciplines, yet it is still often seen as a unique feature of the Western world that became central only in the digital age. In this book, leading experts turn to China’s textual tradition to show the significance of information for reconceptualizing the work of literary history, from its beginnings to the present moment. Contributors trace the organization of literary information across China’s three millennia of history, examining the forms and practices of information management that have evolved alongside the increasing scale and complexity of textual production. They reimagine literary history as information processing, detailing the many kinds of storage, encoding, sorting, and transmission that constitute and feed back into China’s long and ever-growing cultural tradition. The volume features state-of-the-field essays on all major forms of literary information management, from graphs to internet literature, and from commentaries to literary museums and archives. By shifting focus from individual works and their authors to the informatic schemata of literature, it identifies three scales of information management—the word, the document, and the collection—and surveys the forms that operate at each level, such as the dictionary, the anthology, and the library. Literary Information in China is a groundbreaking work that provides a systematic and innovative reassessment of literary history with implications that extend beyond the particular Chinese context, revealing how informatic practices shape literary tradition.
A Brief History of Chinese Fiction grew out of the lecture notes Lu Hsun used when teaching a course on Chinese fiction at Peking University between 1920 and 1924. In December 1923 a first volume was printed and in June 1924 a second volume. In September 1925 these were reprinted as one book. In 1930 the author made certain changes, but all subsequent editions have remained the same.
Featuring over 140 Chinese and non-Chinese contributors, this landmark volume, edited by David Der-wei Wang, explores unconventional forms as well as traditional genres, emphasizes Chinese authors’ influence on foreign writers as well as China’s receptivity to outside literary influences, and offers vibrant contrasting voices and points of view.
"A thorough overview and analysis of the literary scene in China during the 1949-1999 period, focusing primarily on fiction, poetry, drama, and prose writing"--Provided by publisher.
In this innovative work, Ming Dong Gu examines Chinese literature and traditional Chinese criticism to construct a distinctly Chinese theory of fiction and places it within the context of international fiction theory. He argues that because Chinese fiction, or xiaoshuo, was produced in a tradition very different from that of the West, it has formed a system of fiction theory that cannot be adequately accounted for by Western fiction theory grounded in mimesis and realism. Through an inquiry into the macrocosm of Chinese fiction, the art of formative works, and theoretical data in fiction commentaries and intellectual thought, Gu explores the conceptual and historical conditions of Chinese fiction in relation to European and world fiction. In the process, Gu critiques and challenges some accepted views of Chinese fiction and provides a theoretical basis for fresh approaches to fiction study in general and Chinese fiction in particular. Such masterpieces as the Jin Ping Mei (The Plum in the Golden Vase) and the Hongloumeng (The Story of the Stone) are discussed at length to advance his notion of fiction and fiction theory.
"Presents stories of kings and queens, generals, battles, and courtiers from the Zhou Dynasty, when China was ruled by kings from 1046 BC to 221 BC. It was the period before the country was unified under a single emperor, when each state schemed to become more powerful than its neighbor, leading to many exciting stories populated by famous historical figures"--Jacket.