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This book is a cross-cultural, interdisciplinary study which compares responses to modernity in the literary cultures of contemporary Japan and Taiwan. Moving beyond the East-West paradigm that has traditionally dominated comparativism, the volume explores these literatures within the regional frame.
This sourcebook contains more than 160 documents and writings that reflect the development of Taiwanese literature from the early modern period to the twenty-first century. Selections include seminal essays in literary debates, polemics, and other landmark events; interviews, diaries, and letters by major authors; critical and retrospective essays by influential writers, editors, and scholars; transcripts of historical speeches and conferences; literary-society manifestos and inaugural journal prefaces; and governmental policy pronouncements that have significantly influenced Taiwanese literature. These texts illuminate AsiaÕs experience with modernization, colonialism, and postcolonialism; the character of TaiwanÕs Cold War and postÐCold War cultural production; gender and environmental issues; indigenous movements; and the changes and challenges of the digital revolution. TaiwanÕs complex history with Dutch, Spanish, and Japanese colonization; strategic geopolitical position vis-ˆ-vis China, Japan, and the United States; and status as a hub for the East-bound circulation of technological and popular-culture trends make the nation an excellent case study for a richer understanding of East Asian and modern global relations.
The Soldier-Writer, the Expatriate, and Cold War Modernism in Taiwan: Freedom in the Trenches argues that what appeared to be a "genesis" of new literature engendered by the modernist movement in postwar Taiwan was made possible only through the "splendid isolation" within the Cold War world order sustaining the bubble in which "Free China" lived on borrowed time. The book explores the trenches of freedom in whose confines the soldier-poets' were surrealistically acquiesced to roam free under the aegis of "pure literature" and the buffer zone created by the US presence in Taiwan—and the modernists' expatriate writing from America—that aided their moderated deviance from the official line. It critically examines the anti-establishment character and gesture in the movement phase in terms of its entanglements with the state apparatus and the US-aided literary establishment. Taiwan's modernists counterbalance their retrospectively perceived excess and nuanced forms of exit with a series of spiritual as well as actual returns, upon which earlier traditionalist undercurrents would surface. This modernism's mixed legacies, with its aesthetic avant-gardism marrying politically moderate or conservative penchants, date back to its bifurcated mode of existence and operation of separating the realm of the aesthetic from everything else in life during the Cold War.
With over forty original essays, The Oxford Handbook of Modern Chinese Literatures offers an in-depth engagement with the current analytical methodologies and critical practices that are shaping the field in the twenty-first century. Divided into three sections--Structure, Taxonomy, and Methodology--the volume carefully moves across approaches, genres, and forms to address a rich range topics that include popular culture in Late Qing China, Zhang Guangyu's Journey to the West in Cartoons, writings of Southeast Asian migrants in Taiwan, the Chinese Anglophone Novel, and depictions of HIV/AIDS in Chu T'ien-wen's Notes of a Desolate Man.
Murakami Haruki, Ogawa Yōko, Tawada Yōko, Kanai Mieko, Hino Keizō, Murakami Ryū, Kawakami Hiromi, Murata Sayaka... These acclaimed authors are united by a shared fascination with fantastical conceptions of space. In highlighting these luminaries of contemporary Japanese literature, Into the Fantastical Spaces of Contemporary Japanese Literature examines the role of extramundane topos from an interdisciplinary approach. As writers navigate fantastical spaces in resistance to the logic of everyday life, they are able to challenge the dualistic norms on the body and mind that typify modern Japanese life. These studies demonstrate the essential role played by fantastical spaces in the development of modern Japanese literature to the present day. Scholars of Japanese studies, literature, and other fields will find this book an excellent resource for teaching and research.
During the first half of the 20th century, Japan was the dominant military & political force in East Asia. This study explores the transculturations of Japanese literature amongst the Chinese, Koreans, Taiwanese & Manchurians whose lives had come within the sphere of the Japanese Empire.
The Routledge Handbook of Contemporary Taiwan offers a comprehensive overview of both contemporary Taiwan and the Taiwan studies field. Each contribution summarises the major findings in the field and highlights long-term trends, recent observations and possible future developments in Taiwan. Written by an international team of experts, the chapters included in the volume form an accessible and fascinating insight into contemporary Taiwan. Up-to-date, interdisciplinary, and academically rigorous, the Handbook will be of interest to students, academics, policymakers and others in search of reliable information on Taiwanese politics, economics, culture and society.
On the Horizon of World Literature compares literary texts from asynchronous periods of incipient literary modernity in different parts of the world: Romantic England and Republican China. These moments were oriented alike by “world literature” as a discursive framework of classifications that connected and re-organized local articulations of literary histories and literary modernities. World literature thus provided—and continues to provide—a condition of possibility for conversation between cultures as well as for their mutual provincialization. The book offers readings of a selection of literary forms that serve also as textual sites for the enactment of new socio-political forms of life. The literary manifesto, the tale collection, the familiar essay, and the domestic novel function as testing grounds for questions of both literary-aesthetic and socio-political importance: What does it mean to attain a voice? What is a common reader? How does one dwell in the ordinary? What is a woman? In different languages and activating heterogeneous literary and philosophical traditions, works by Percy Bysshe Shelley, Lu Xun, Charles and Mary Lamb, Lin Shu, Zhou Zuoren, Jane Austen, and Eileen Chang explore the far-from-settled problem of what it means to be modern in different lifeworlds. Sun’s book brings to light the disciplinary-historical impact world literature has had in shaping literary traditions and practices around the world. The book renews the practice of close reading by offering the model of a deprovincialized close reading loosened from confinement within monocultural hermeneutic circles. By means of its own focus on England and China, the book provides methods useful for comparatists working between other Western and non-Western languages. It establishes the critical significance of Romanticism for the discipline of literary studies and opens up new paths of research in global Romanticism and global nineteenth-century studies. And it offers a new approach to analyzing the cosmopolitan character of the literary and cultural transformations of early twentieth-century China.
Translingual Narration is a study of colonial Taiwanese fiction, its translation from Japanese to Chinese, and films produced during and about the colonial era. It is a postcolonial intervention into a field largely dominated by studies of colonial Taiwanese writing as either a branch of Chinese fiction or part of a larger empire of Japanese language texts. Rather than read Taiwanese fiction as simply belonging to one of two discourses, Bert Scruggs argues for disengaging the nation from the former colony to better understand colonial Taiwan and its postcolonial critics. Following early chapters on the identity politics behind Chinese translations of Japanese texts, attempts to establish a vernacular Taiwanese literature, and critical space, Scruggs provides close readings of short fiction through the critical prisms of locative and cultural or ethnic identity to suggest that cultural identity is evidence of free will. Stories and novellas are also viewed through the critical prism of class-consciousness, including the writings of Yang Kui (1906–1985), who unlike most of his contemporaries wrote politically engaged literature. Scruggs completes his core examination of identity by reading short fiction through the prism of gender identity and posits a resemblance between gender politics in colonial Taiwan and pre-independence India. The work goes on to test the limits of nostalgia and solastalgia in fiction and film by looking at how both the colonial future and past are remembered before concluding with political uses of cinematic murder. Films considered in this chapter include colonial-era government propaganda documentaries and postcolonial representations of colonial cosmopolitanism and oppression. Finally, ideas borrowed from translation and memory studies as well as indigenization are suggested as possible avenues of discovery for continued interventions into the study of postcolonial and colonial Taiwanese fiction and culture. With its insightful and informed analysis of the diverse nature of Taiwanese identity, Translingual Narration will engage a broad audience with interests in East Asian and postcolonial literature, film, history, and culture.
Mapping Modern Beijing investigates the five methods of representing Beijing-a warped hometown, a city of snapshots and manners, an aesthetic city, an imperial capital in comparative and cross-cultural perspective, and a displaced city on the Sinophone and diasporic postmemory-by authors travelling across mainland China, Taiwan, Hong Kong, and overseas Sinophone and non-Chinese communities. The metamorphosis of Beijing's everyday spaces and the structural transformation of private and public emotions unfold Manchu writer Lao She's Beijing complex about a warped native city. Zhang Henshui's popular snapshots of fleeting shocks and everlasting sorrows illustrate his affective mapping of urban transition and human manners in Republican Beijing. Female poet and architect Lin Huiyin captures an aesthetic and picturesque city vis- -vis the political and ideological urban planning. The imagined imperial capital constructed in bilingual, transcultural, and comparative works by Lin Yutang, Princess Der Ling, and Victor Segalen highlights the pleasures and pitfalls of collecting local knowledge and presenting Orientalist and Cosmopolitan visions. In the shadow of World Wars and Cold War, a multilayered displaced Beijing appears in the Sinophone postmemory by diasporic Beijing native Liang Shiqiu, Taiwan sojourners Zhong Lihe and Lin Haiyin, and migr martial arts novelist Jin Yong in Hong Kong. Weijie Song situates Beijing in a larger context of modern Chinese-language urban imaginations, and charts the emotional topography of the city against the backdrop of the downfall of the Manchu Empire, the rise of modern nation-state, the 1949 great divide, and the formation of Cold War and globalizing world. Drawing from literary canons to exotic narratives, from modernist poetry to chivalric fantasy, from popular culture to urban planning, Song explores the complex nexus of urban spaces, archives of emotions, and literary topography of Beijing in its long journey from imperial capital to Republican city and to socialist metropolis.