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Brings together some of the best and most historically significant works of short fiction written in China in this century -including such important figures in the development of Chinese modernism as Lu Hsün, Mao Tun, Ting Ling, and Shen Ts' ung-wen. The companion volume to the highly acclaimed (Columbia, 1978), this new volume presents modernist short fiction from the thirty-year period leading up to the Communist revolution of 1949, after which Chinese literature entered a new phase of development. The stories range in setting from the late Ch'ing dynasty through the Sino-Japanese War and the early Communist years, and range in length from brief tales to substantial short novels. Though a large number of the writers represented are leftists, works of all political viewpoints have been included to provide the full literary panorama of one of the most fertile periods of Chinese creative activity.
Best known for the groundbreaking works A History of Modern Chinese Fiction (1961) and The Classic Chinese Novel (1968), C. T. Hsia has gathered sixteen essays and studies written during his Columbia years as a professor of Chinese literature. Wider in range and scope, C. T. Hsia on Chinese Literature stands beside his two earlier books as part of his critical legacy to all readers seriously interested in the subject. C. T. Hsia's writings on Chinese literature express a candor rare among his Western colleagues. Thus the first section of the book contains three essays that place Chinese literature in critical perspective, examining its substance and significance and questioning some of the critical approaches and methods adopted by Western sinologists for its study and appreciation. The second section has two essays on traditional drama--one on the Yuan masterpiece The Romance of the Western Chamber and the other a sophisticated study of the plays of the foremost Ming dramatist T'ang Hsien-tsu. The third section is the richest and longest of the book, containing six essays on traditional and early modern fiction. At least four of these--on "The Military Romance" and the novels Flowers in the Mirror, The Travels of Lao Ts'an, and Jade Pear Spirit--are among the author's finest works. Finally, the fourth section of the book, covering modern fiction, includes one essay on the novel The Korchin Banner Plains, an essay on women in Chinese communist fiction, and three concise yet illuminating studies of the short story during the three republican decades before Mao, the first dozen years under Mao, and in Taiwan during the 1960s.
Though he lived mostly in rural South Taiwan, Zhong Lihe (1915–1960) spent several years in Manchuria and Peking, moving among an eclectic mix of ethnicities, classes, and cultures. His fictional portraits unfold on Japanese battlefields and in Peking slums, as well as in the remote, impoverished hill-country villages and farms of Zhong Lihe’s native Hakka districts. His scenic descriptions are deft and atmospheric, and his psychological explorations are acute. The first anthology to present his work in English, this volume features two novellas, ten short stories, and four short prose works.
The greatest Chinese novel of the twentieth century, Fortress Besieged is a classic of world literature, a masterpiece of parodic fiction that plays with Western literary traditions, philosophy, and middle-class Chinese society in the Republican era. Set on the eve of the Sino-Japanese War, our hapless hero Fang Hung-chien (á la Emma Bovary), with no particular goal in life and with a bogus degree from a fake American university in hand, returns home to Shanghai. On the French liner home, he meets two Chinese beauties, Miss Su and Miss Pao. Qian writes, "With Miss Pao it wasn't a matter of heart or soul. She hadn't any change of heart, since she didn't have a heart." In a sort of painful comedy, Fang obtains a teaching post at a newly established university where the effete pseudo-intellectuals he encounters in academia become the butt of Qian's merciless satire. Soon Fang is trapped into a marriage of Nabokovian proportions of distress and absurdity. Recalling Fielding's Tom Jones in its farcical litany of misadventures and Flaubert's "style indirect libre," Fortress Besieged is its own unique feast of delights.
The A to Z of Modern Chinese Literature presents a broad perspective on the development and history of literature in modern China. It offers a chronology, introduction, bibliography, and over 300 cross-referenced dictionary entries on authors, literary and historical developments, trends, genres, and concepts that played a central role in the evolution of modern Chinese literature.
Best known for the groundbreaking works A History of Modern Chinese Fiction (1961) and The Classic Chinese Novel (1968), C. T. Hsia has gathered sixteen essays and studies written during his Columbia years as a professor of Chinese literature. Wider in range and scope, C. T. Hsia on Chinese Literature stands beside his two earlier books as part of his critical legacy to all readers seriously interested in the subject. C. T. Hsia's writings on Chinese literature express a candor rare among his Western colleagues. Thus the first section of the book contains three essays that place Chinese literature in critical perspective, examining its substance and significance and questioning some of the critical approaches and methods adopted by Western sinologists for its study and appreciation. The second section has two essays on traditional drama—one on the Yuan masterpiece The Romance of the Western Chamber and the other a sophisticated study of the plays of the foremost Ming dramatist T'ang Hsien-tsu. The third section is the richest and longest of the book, containing six essays on traditional and early modern fiction. At least four of these—on "The Military Romance" and the novels Flowers in the Mirror, The Travels of Lao Ts'an, and Jade Pear Spirit—are among the author's finest works. Finally, the fourth section of the book, covering modern fiction, includes one essay on the novel The Korchin Banner Plains, an essay on women in Chinese communist fiction, and three concise yet illuminating studies of the short story during the three republican decades before Mao, the first dozen years under Mao, and in Taiwan during the 1960s.
An anthology of Chinese fiction, poetry, and essays written during the twentieth and twenty-first centuries.
The focus of this study is coming of age in troubled Cultural Revolutionary times as portrayed in contemporary Chinese Bildungsroman fiction by Su Tong and Yu Hua, along with a comprehensive overview of the Bildungsroman in China and the west.
What do the Chinese literature and film inspired by the Cultural Revolution (1966-1976) have in common with the Chinese literature and film of the May Fourth movement (1918-1930)? This new book demonstrates that these two periods of the highest literary and cinematic creativity in twentieth-century China share several aims: to liberate these narrative arts from previous aesthetic orthodoxies, to draw on foreign sources for inspiration, and to free individuals from social conformity. Although these consistencies seem readily apparent, with a sharper focus the distinguished contributors to this volume reveal that in many ways discontinuity, not continuity, prevails. Their analysis illuminates the powerful meeting place of language, imagery, and narrative with politics, history, and ideology in twentieth-century China. Drawing on a wide range of methodologies, from formal analysis to feminist criticism, from deconstruction to cultural critique, the authors demonstrate that the scholarship of modern Chinese literature and film has become integral to contemporary critical discourse. They respond to Eurocentric theories, but their ultimate concern is literature and film in China's unique historical context. The volume illustrates three general issues preoccupying this century's scholars: the conflict of the rural search for roots and the native soil movement versus the new strains of urban exoticism; the diacritics of voice, narrative mode, and intertextuality; and the reintroduction of issues surrounding gender and subjectivity. Table of Contents: Preface Acknowledgments Introduction David Der-wei Wang part:1 Country and City 1. Visitation of the Past in Han Shaogong's Post-1985 Fiction Joseph S. M. Lau 2. Past, Present, and Future in Mo Yan's Fiction of the 1980s Michael S. Duke 3. Shen Congwen's Legacy in Chinese Literature of the 1980s Jeffrey C. Kinkley 4. Imaginary Nostalgia: Shen Congwen, Song Zelai, Mo Yan, and Li Yongping David Der-wei Wang 5. Urban Exoticism in Modern and Contemporary Chinese Literature Heinrich Fruehauf part: 2 Subjectivity and Gender 6. Text, Intertext, and the Representation of the Writing Self in Lu Yun, Dafu,and Wang Meng Yi-tsi Mei Feuerwerker 7. Invention and Intervention: The Making of a Female Tradition in Modern Chinese Literature Lydia H. Liu 8. Living in Sin: From May Fourth via the Antirightist Movement to the Present Margaret H. Decker part: 3 Narrative Voice and Cinematic Vision 9. Lu Xun's Facetious Muse: The Creative Imperative in Modern Chinese Fiction Marston Anderson 10. Lives in Profile: On the Authorial Voice in Modern and Contemporary Chinese Literature Theodore Huters 11. Melodramatic Representation and the "May Fourth" Tradition of Chinese Cinema Paul G. Pickowicz 12. Male Narcissism and National Culture: Subjectivity in Chen Kaige's King of the Children Rey Chow Afterword: Reflections on Change and Continuity in Modern Chinese Fiction Leo Ou-fan Lee Notes Contributors From May Fourth to June Fourth will he warmly welcomed. It should be of great interest to all concerned with literary developments in the contemporary world on the one hand, and on the other with the enigmas surrounding China's alternating attempts to develop and to destroy herself as a civilization. --Cyril Birch, University of California, Berkeley