By Pang-Yuan Chi, David Der-wei Wang
"... an incredible contribution to the learn of modern chinese language literature." -- Choice"This effective, scholarly survey of chinese language literature due to the fact that 1949... discusses such tendencies as modernism, nativism, realism, root-seeking and 'scar' literature, 'misty' poets, and political, feminist, and societal concerns in sleek chinese language literature." -- Library JournalThis quantity is a survey of contemporary chinese language literature in the second one half the 20 th century. It has 3 pursuits: (1) to introduce figures, works, pursuits, and debates that represent the dynamics of chinese language literature from 1949 to the top of the century; (2) to depict the enunciative endeavors, starting from ideological treatises to avant-garde experiments, that tell the polyphonic discourse of chinese language cultural politics; (3) to monitor the historic elements that enacted the interaction of literary (post)modernities throughout the chinese language groups within the Mainland, Taiwan, Hong Kong, and in another country.
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Additional resources for Chinese Literature in the Second Half of a Modern Century
It has become common wisdom xxxviii | INTRODUCTION that Wang Shuo’s comic fiction, together with the movies and TV serials based on his works, reflects the despondency of PRC culture after the Tian’anmen Incident; he is a one-man industry catering to popular taste. But what makes priggish readers uneasy is perhaps not the subject matter that Wang Shuo deals with—small-scale swindlers, shallow social climbers, and petty entrepreneurs—so much as the matter-of-fact attitude he takes toward both his subject matter and his career.
Chernyshevsky; the notion that “literature and art serve politics” derives from Lenin; and Cai Yi’s theory of typicality derives from Engels and Sergei Belinsky. Disputes in the arena of Chinese literary theory have quite often been foreigners’ debates—the polemics between Plato and Aristotle, Zola and Hugo, or of Babbitt contra Croce and Springarn; the quarrels between Lukács and Brecht, Plekhanov and Darwin, or Taine and Chernyshevsky contra Freud—not true scholarly debates among Chinese theorists.
Guo Moruo’s writing style, built upon this foundation, exerted an extremely pernicious influence on left-wing literary circles after the 1930s and on mainland literary circles after 1949, infusing them with the smell of gunpowder and their writings with a militant air and tyrannical language. As a result, many cultural monsters, poets-cum-butchers, came into being. Guo Moruo bears some responsibility for this perverse and unfortunate state of affairs. This is only a statement of fact, not intended to fix blame.