Fairbank, eds. Cambridge: Cambridge UP, , Shanghai: Fudan daxue, Chen, Yu-chin. Denton, Kirk A. New York: Columbia University Press, The essays in this volume can be read sequentially for a chronological account or separately in conjunction with reading the literary works in Chinese or English-language translation. Each entry features author names and titles, as well as key terms and references, in English and in Chinese characters for readers who know or are learning Chinese, and each concludes with a bibliography of relevant primary and secondary sources.
The volume opens with eight thematic essays addressing general issues in the study of Chinese literature: the ethics of writing a literary history, the formation of the canon, the relationship between language and form, the influence of literary institutions and communities, the effects of censorship, and the role of different media on the development of literature. Woven throughout are more general pieces on late Qing fiction, popular entertainment fiction, martial arts fiction, experimental theater, post-Mao avant-garde poetry in China, post—martial law fiction from Taiwan, contemporary genre fiction from China, and recent Internet literature, among other topics.
LOUISE BOURGEOIS: COMPLETE BOOKS & PRINTS
Denton, ed. NY: Columbia University Press, , Dolezalova, Anna. Taibei: Spring International, Giafferri-Huang, Xiaomin. Le roman chinois depuis Paris: Presses Universitaires de France, Herdan, Innes. London: Red Books, Hong, Zicheng. A History of Contemporary Chinese Literature. Michael Day. Brill, Reprinted sixteen times since its publication in the PRC in it is now available in English translation at last. The first section of the book deals with the period. Often derided and ignored as an arid era for literature by both Chinese and overseas critics, Professor Hong describes the literature that was popular and officially acceptable at the time, and the cultural policies and political campaigns that shaped the tastes of readers and the literary creativity of writers during the period.
Furthermore, the platform that the first part of the text provides renders the second part even more understandable to readers unfamiliar with the post literary scene — and offers new insights to those who are familiar with it — demonstrating as it does the close links between the two distinctive eras. These links are provided by the resumption of literary traditions that had been more-or-less abandoned during the preceding ten-year period, as well as reactions against literature nurtured and guided by the state cultural apparatus. The second part of the book consists of a comprehensive description of developments — and insightful explanations of those developments — in the literary arts and literary criticism since Hsia, C.
A History of Modern Chinese Fiction. Third edition: Bloomington: Indiana University Press, Huang, Nicole. Chicester: Wiley Blackwell, , Lai, Ming. A History of Chinese Literature. NY: Capricorn Books, Lee, Leo Ou-fan. Fairbank and Feuerwerker, eds. Cambridge UP, , Louie, Kam and Bonnie McDougall. The Literature of China in the Twentieth Century. NY: Columbia UP, McDougall, Bonnie S. The Literary Dictionary Company, Monsterleet, Jean.
Sommets de la litterature chinoise contemporaine. Paris: Editions Domat, Nienhauser, William and Howard Goldblatt. Rojas, Carlos and Andrea Bachner, eds. NY: Oxford University Press, Scott, A. Literature and the Arts in Twentieth Century China. NY: Doubleday, Spence, Jonathan. New York: The Viking Press.
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Su, Hsueh-lin. Beiping Peiping : Tang, Tao. History of Modern Chinese Literature. Beijing: Foreign Languages Press, Ting, Yi.
Peking: FLP, Wang, David Der-Wei, ed. Cambridge: Harvard University Press, Beijing: Renmin wenxue, Xie, Mian. Beijing: Enrich Professional, Shortly after the fall of the Qing, leaders of the New Culture Movement started to promote vernacular literature, stressed the need for a re-examination of the ancient classics, and championed the popularization of Western values. After that, Chinese literature was taken on a completely different trajectory, not only in stylistic terms but also in ideological ones. Grouped thematically and in accordance with the periods in discussion, this collection of nearly 50 essays provides an integrated examination of the historical backdrop and ideologies that underpinned Chinese literature from the days of the New Culture Movement to the New Era beyond the Cultural Revolution through a mix of microscopic criticisms and macroscopic overviews.
Zhang, Yinde. Le roman chinois moderne Zhang, Yingjin, ed. A Companion to Modern Chinese Literature.
Chichester, UK: Wiley Blackwell, It reviews major accomplishments of Chinese literary scholarship published in Chinese and English and brings attention to previously neglected, important areas. Offers the most thorough and concise coverage of modern Chinese literature to date, drawing attention to previously neglected areas such as late Qing, Sinophone, and ethnic minority literature.
Several chapters explore literature in relation to Sinophone geopolitics, regional culture, urban culture, visual culture, print media, and new media.
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The introduction and two chapters furnish overviews of the institutional development of modern Chinese literature in Chinese and English scholarship since the mid-twentieth century. Contributions from leading literary scholars in mainland China and Hong Kong add their voices to international scholarship. Beijing Zhonghua shuju, Nanjing: Jiangsu wenyi, Andolfatto, Lorenzo.
Leiden: Brill, Andrs, Dusan. Formulation of Fictionality: Discourse on Fiction in China between and Prague: Charles University, Zeitlin and Lydia Liu, with Ellen Widmer, eds.
Blitstein, Pablo Ariel. Boittout, Joachim. Its main purpose is to provide China focused scholars and students with a representative selection of famous literary works of that time, which covers the end of the Qing empire and the first years of the Republican era. Chabrowski, Igor Iwo.
It argues that theater developed in Sichuan during the eighteenth century as a part of the social and religious life of market towns and cities and that it was indivisibly connected with the political and administrative structure of the country. As such, it was fragmented along musical, dialectic, and geographic lines. The introduction of the New Policies in , which most affected the largest urban centers such as Chengdu and Chongqing, was the main cause of organizational reconstruction of theatrical performances.
The mutual dependence of law enforcement and entertainment persisted during the early Republic and was revived in the s, making theaters among the most stable and important institutions of early twentieth-century Sichuan cities.
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The Sichuan opera we know now is a product of this historical process. The study of the institutional development of opera shows the aims, scope, and limitations of the political reforms that reshaped China in the late Qing and Republican periods. Chan, Leo Tak-hung. Amsterdan, Philadelphia: J. Benjamins, , Chang, Hao. Berkeley: University of California Press, Chen, Dakeng. Chen, Jianhua. Denton, China section, ed. NY: Columbia UP, , Chen, Liana. Beijing: Beijing daxue, Cheng, Stephen. Cambridge: Harvard University, Chin, Carol C. Chow, Kai-wing. London: Hurst, , Stanford: Stanford UP, , Des Forges, Alexander.
Princeton: Princeton University, Honolulu: University of Hawaii Press, NY: Routledge, , Dolezelova-Velingerova, Milena. Cambridge: Harvard UP, , The Chinese Novel at the Turn of the Century. Toronto: University of Toronto Press, Cambridge: Harvard University Asia Center, , Mair, ed. The Columbia History of Chinese Literature. Chinese Encyclopaedias of New Global Knowledge Berlin: Springer Verlag, Drunken Whiskers.
Henry McAleavy. Feng, Jin. Fogel, Joshua and Peter Zarrow, eds. Armonk, NY: M. Sharpe, Fong, Grace S. Furth, Charlotte.