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Journal articles on the topic 'Chinese fiction History and criticismSong dynasty'

Author: Grafiati

Published: 11 December 2022

Last updated: 31 July 2025

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1

Han, Ruihui. "Jin Ping Mei: A Story of Guanxi." Folklore: Electronic Journal of Folklore 85 (April 2022): 7–34. http://dx.doi.org/10.7592/fejf2022.85.han.

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No fiction is without a narrative of human relationships. In Chinese literary history, the stories represented by Jin Ping Mei are especially seen as dealing with human relationships. Some researchers have interpreted Jin Ping Mei from the perspective of human relationships; however, the generic concept cannot describe social connections in Chinese culture. The concept of guanxi, the ubiquitous and quotidian social network in China, better describes the specific human relationships in this fiction. Guanxi as a Chinese cultural phenomenon originating from Confucianism is effective in procuring

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2

des Forges, Alexander. "Building Shanghai, One Page at a Time: The Aesthetics of Installment Fiction at the Turn of the Century." Journal of Asian Studies 62, no. 3 (2003): 781–810. http://dx.doi.org/10.2307/3591860.

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In the last two decades of the Qing dynasty, installment publication became the dominant mode of presentation for Chinese fiction, as it had been for European and Japanese literature for more than half a century. Whether printed daily as one feature in a newspaper, weekly in literary supplements, or monthly in the fiction journals that took off in the early 1900s, Chinese vernacular fiction of this period appeared in parts over time, just as the works of Honoré de Balzac, Charles Dickens, Jippensha Ikku, Fyodor Dostoevsky, and even Henry James did (Link 1981; Lee and Nathan 1985; Chen 1988). A

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3

尚昱辰, 三明学院教育与音乐学院. "Fiction and Reality: Aesthetic Implication of the Love Ghost Opera in the Late Ming Dynasty." Sinology 2 (2019) 2 (2019): 81–108. https://doi.org/10.12906/9781682025222_004.

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As one of the main categories of ancient Chinese operas, ghost opera plays an important role in the opera history. And the love ghost subject opera, which contains the two themes of love and death, becomes more and more popular among the dramatists and audiences. The cultural imagination of the “ghost” in ancient Chinese opera is of great importance in the aspects of artistic function, opera adaptation, and image building, especially the “female ghost” images, realizing the ideal realization and aesthetic imagination for the dual-image of human and ghost in an “imaginary reality”. In the late

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Willcock, Hiroko. "Japanese Modernization and the Emergence of New Fictwn in Early Twentieth Century China: A Study of Liang Qichao." Modern Asian Studies 29, no. 4 (1995): 817–40. http://dx.doi.org/10.1017/s0026749x0001619x.

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Inspired by Japanese influences among others the late Qing period saw a great surge in the writing of fiction after 1900. The rate of growth was unprecedented in the history of Chinese literature. The great surge coincided with rapid socio-political changes that China underwent in the last fifteen years of the Qing Dynasty. At the psychological level, the humiliating defeat by Japan in 1895 gave rise to a feeling of urgency for reform among some progressively minded Chinese intellectuals. Those reformers came to view fiction as a powerful medium to further their reform causes and to arouse amo

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Wu, Jiaqi. "A Preliminary Exploration of Buddhist Culture in Tang Legends." Communications in Humanities Research 47, no. 1 (2024): 30–35. http://dx.doi.org/10.54254/2753-7064/47/20242406.

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Abstract: The chuanqi (legendary stories) of Tang Dynasty are widely recognized as a milestone that marks a new stage in the history of Chinese fiction. During this period, the Tang Dynasty adopted a religious policy that allowed Buddhism and Daoism to coexist, leading both religions to reach their historical peaks of prosperity. In the texts of Tang chuanqi, Buddhist thought is also endowed with profound meaning. This paper aims to conduct a detailed analysis of the stylistic features, literary themes, and character outcomes in five classic Tang Legends from the Anthology of Tang and Song Tal

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Smirnova, Nataliya Vladimirovna. "On the question of studying the examination system during the reign of the Manchu Qing Dynasty. The image of a student in the stories of Pu Songling." Uchenyy Sovet (Academic Council), no. 5 (April 22, 2021): 394–401. http://dx.doi.org/10.33920/nik-02-2105-07.

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The stories of the Chinese writer Pu Songling about the extraordinary are well known all over the world: there are translations in English, French, German and Spanish. The article, based on the study of the stories of Pu Songling in the translations of the outstanding Russian orientalist Vasiliy Mikhailovich Alekseev (1881-1951), presents the image of a student and the features of the examination system (keju) during the reign of the Manchu Qing Dynasty in China (1644-1911). The importance of fiction in the study of the content of the institution of state examinations is emphasized. Artistic i

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Hedberg, William C. "Chinese Fiction as a ‘Signal Bell of the Revolution’ and the Transregional Birth of an Author." East Asian Publishing and Society 9, no. 2 (2019): 125–50. http://dx.doi.org/10.1163/22106286-12341333.

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Abstract This essay examines late nineteenth- and early twentieth-century interest in Shi Nai’an, the putative author of the traditional Chinese novel, The Water Margin. Despite the paucity of reliable evidence attesting to Shi Nai’an’s composition of The Water Margin, Japanese writers of the Meiji period were keenly interested in Shi on the basis of his alleged stature as a pioneering author of Oriental or East Asian (Tōyō) fiction. This characterization of Shi Nai’an was a byproduct of the recently established academic discipline of literary history in Japan, and the concomitant desire by Me

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Snow, Don, Zhou Xiayun, and Shen Senyao. "A short history of written Wu, Part I." Global Chinese 4, no. 1 (2018): 143–66. http://dx.doi.org/10.1515/glochi-2018-0007.

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AbstractIn two articles published in the 1920s, Hu Shi argued that China’s vernacular literature movement should encompass not only literature written in Mandarin but also other regional languages in China, and suggested that Wu, particularly Suzhounese, was the regional language most likely to achieve what he described as “independence” (独立) as a literary language. Beginning in the late Ming dynasty with Feng Menglong’s Mountain Songs collection, this study traces the literary journey of Suzhounese as used in various types of written texts such as Kun opera scripts,tancinovels, fiction, and W

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Karlsson, Jens, and Rebecka Eriksson. "Vilande drakens elegi." Tidskrift för litteraturvetenskap 42, no. 2-3 (2012): 154–65. http://dx.doi.org/10.54797/tfl.v42i2-3.11698.

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The Sleeping Dragon’s Elegy: An Example of Occasional Verse in The Romance of the Three Kingdoms This article examines one example of occasional verse in the classic Chinese novel The Romance of the Three Kingdoms (Sanguo yanyi 三国演义, Luo Guanzhong, 14th century), with a focus on the historical situation in which the poem is placed and the political implications ascribed to it. The Romance of the Three Kingdoms is a work of tremendous cultural impact. Its retelling of historical events during the late Han dynasty continues to shape the general understanding of this period, regardless of t

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Zhao, Yi. "Ethos and Karma: the Construction of Business Ethics and Social Ethics in Popular Novels from the 16th to 18th Centuries." Journal of Chinese Humanities 9, no. 2 (2023): 181–95. http://dx.doi.org/10.1163/23521341-12340152.

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Abstract The common concept of karma and retribution in the general religious life of Chinese society was not only expressed in the popular literature that has flourished since the Song dynasty, but also reacted to society through the processing, refining, and deepening of popular fiction. Popular novels from the 16th to 18th centuries synchronized with the fresh ideas of New Chan Buddhism, New Daoism, and New Confucianism, which gradually developed an ethos and karma model. It used real life as a metaphor for explaining cause and effect in the construction of new business and social ethics th

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11

Herman, John. "The Kingdoms of Nanzhong China's Southwest Border Region Prior to the Eighth Century." T'oung Pao 95, no. 4 (2009): 241–86. http://dx.doi.org/10.1163/008254309x507052.

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AbstractThis article utilizes recent ethno-historical scholarship and archaeological discoveries in southwest China to examine the accuracy of the earliest Chinese historical sources dealing with the peoples and cultures in Nanzhong, the most common name for the southwest region (Yunnan, Guizhou, and southern Sichuan) prior to the Tang dynasty. Archaeology makes clear that Nanzhong was a settled border region with several highly sophisticated and divergent cultures. Early Chinese incursions into Nanzhong left an indelible mark on the peoples living there, but these brief and generally unsucces

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Yeh, Michelle. "Classicist Drama in Digital Times." Prism 20, no. 2 (2023): 417–41. http://dx.doi.org/10.1215/25783491-10992780.

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Abstract This article begins with an overview of the rise of internet drama, or web drama, in China in the past fifteen years. The new platform boasts several advantages, which accounts for its rapid development. Web drama has become so popular that it is replacing television drama series as the mainstream. The article then examines a major genre of web drama: stories set in traditional China. While costume drama or period drama, whether based on history or fiction, has always been popular, classicist web drama series in recent years stand out for their authenticity and creativity. Based on tw

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13

Li, Wei. "From the Imagination to the Reality: Historical Aspects of Rewriting Six Dynasties Buddhist Avadāna Stories." Religions 14, no. 4 (2023): 545. http://dx.doi.org/10.3390/rel14040545.

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In at least two aspects, Buddhist Avadāna literature shares a strong affinity with Chinese literature. One type of stories can be seen as parallel tales that bear striking resemblances to Chinese tales, while the other type has been assimilated by Chinese writers and transformed into Chinese tales. Regarding the first kind, there are many parallels between Buddhist and Chinese stories throughout the Six Dynasties (222–589), and it was only later that these stories were somehow compiled into collections that brought these parallels to light. As an example of the second type, in linggui zhi 靈鬼志

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14

Lee, Chae-eun. "Multilayers of Masculinities and Male Gender Practice in the ‘Hwejeol Fiction(Stories about Men Breaking His Faith)’ of the Late Joseon Dynasty." Research of the Korean Classic 64 (February 28, 2024): 261–300. http://dx.doi.org/10.20516/classic.2024.64.261.

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In the late Joseon Dynasty, a group of novels called ‘Hwejeol Fiction(Stories about Men Breaking His Faith)’ appeared. They shared the narrative that the heterosexual sexuality of the male character is confirmed through tests. This narrative means the process of confirming the heterosexual sexuality of individual men and granting them membership in the homosocial communities. This work was examined the homosocial between mens through three works of Hwejeol Fiction: ‘Jibong-jeon’, ‘Oyuran-jeon’, and ‘Samseon-gi’. First, in ‘Jibong-jeon’, a dominant man who rejects heterosexual sexuality a

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15

Ши, Юэ. "On the translation of the classic Chinese novel “Jin, Ping, Mei, or the Plum in the Golden Vase” in the West." Modern Humanities Success, no. 3 (March 29, 2024): 21–27. http://dx.doi.org/10.58224/2618-7175-2024-3-21-27.

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в истории китайской литературы роман «Цзинь, Пин, Мэй» (Jin Ping Mei, кит. 金瓶梅) династии Мин (1368-1644) является знаковым произведением, которое можно сравнить с «Четырьмя великими шедеврами китайской классической художественной литературы». В 2016 году четвертый том (кн.1 и 2) перевода «Цзинь, Пин, Мэй, или Цветы сливы в золотой вазе» был опубликован в Россия, что позволило русскоязычному миру наконец-то в полном объеме получить полный русский перевод этого классического китайского романа. Появление этого четырёхтомный перевод вновь вызвало повышенное внимание к этому роману и в России, и в

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16

Sarakaeva, Elina A. "The Beauty, the Beast and the Red Hare. The 'Chain Scheme' in Chinese Literature and Cinematography. Part 1." Corpus Mundi 3, no. 2 (2022): 52–80. http://dx.doi.org/10.46539/cmj.v3i2.71.

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The Chinese historical chronicle “The Annals of the Three kingdoms” relates the last years of Han dynasty before the country fell into chaos. According to the Chronicle, a frontier general Dong Zhuo marched with his troops to the capital and took control over the boy emperor. He wanted to get rid of his rival general Ding Yuan, so he bribed his officers with gifts and promises. A young junior officer Lü Bu killed general Ding and presented his head to Dong Zhuo. The daring and unscrupulous officer enjoyed the favours of the usurper, he became his adopted son and was placed at the head of caval

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17

Ооржак, Байлак Чаш-ооловна, та Начын Михайлович Монгуш. "Тувинские названия пыток маньчжуро-китайского периода в сопоставлении с монгольскими". Tomsk Journal of Linguistics and Anthropology, № 1(47) (21 березня 2025): 64–74. https://doi.org/10.23951/2307-6119-2025-1-64-74.

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В статье проводится лексический анализ тувинских названий пыток, которые известны в истории Тувы как тос эрии ‘букв. девять пыток’. Тос эрии относится к периоду маньчжуро-китайского господства, времени Циньской династии в Туве и Монголии (XVIII в. – до начала XX в.). Однако их правление Тувой осуществлялась через местных правителей, которые подчинялись в свою очередь монгольским. Исторические данные свидетельствуют о том, что китайская администрация управляла Монголией и Тувой по специально созданному документу «Уложение Китайской Палаты внешних сношений». И согласно его нормам были разработан

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18

陳, 國球. "詩心與故事——林庚《中國文學史》論小説和戲劇". 人文中國學報, 1 серпня 2005, 397–418. http://dx.doi.org/10.24112/sinohumanitas.112441.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English. 林庚是二十世紀三十年代一位出色的詩人，也是一位著名的古典文學研究者；兩重身份互相交叠影響，因而創作和研究别具特色。林庚的古代文學研究具體表現在先後出版的幾種《中國文學史》之上。其中第一本《中國文學史》寫成於1974年，更是迥拔孤秀，見解和書寫方式與一般著作大不相同。本文把焦點放在“小説”和“戲劇”之上，試圖探討這位詩人如何談論“詩”以外的文類。我們發現林庚在研究中國文學史上的小説和戲劇時，非常用心追尋内裏的“詩情”和“夢意”，以中國方式詮解中國叙事體的理想結構。對於近似西方劇情的中國故事，反而輕輕帶過，無意深究。這種處理方式，與林庚一貫主張“中國文學史事實上是一個以詩歌爲中心的文學史”之説是互相呼應的。依照林庚的看法，中國文學史在宋以前的重心離不開詩歌；即使宋元以後轉入“故事主潮”——小説戲劇當道，林庚還是偵察到其中許多的“詩意”。無論過去的哪一時段，“詩”仍然是理解中國文學史的主要綫索。Lin Geng (1910-) is one of the famous poets in the thirties of the twentieth century. He is also a renowned scholar in the field of

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董, 乃斌. "《史通》叙事觀的文學史意義". 人文中國學報, 1 вересня 2009, 7–26. http://dx.doi.org/10.24112/sinohumanitas.152560.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English. 中國文學有悠久深厚的抒情傳統，也有悠久深厚的叙事傳統。但對後者，以往的研究較弱，亟需加强。唐劉知幾《史通》是一部史學理論著作，但因中國自古文史不分，而且史述本身也是一種叙事文體，故《史通》所論多與文學，特别是文學叙事有關。當我們從叙事角度重審中國文學史，不能不十分重視《史通》的一系列觀點。概括而言，《史通》之叙事觀有三個方面，即對叙事行爲的尊崇、對求真原則的强調和以切實尚簡爲叙事文字之高標。這些觀點雖針對史學而發，但在文學史上也產生過巨大而持久的影響。本文著重論述其與叙事文學有關者數點，以闡明其在中國文學史上的意義。一、《采撰》、《載文》等篇指出史書必含文章的事實，進而討論了史書載文的標準等問題，具體地肯定史述與文學不可分的深刻因緣關係。二、以《曲筆》篇爲主，並涉及《直書》、《品藻》、《鑒識》、《探賾》等篇，探討了史述失真的種種弊端和惡果，却又允許“避諱”，從而爲文史寫作中的虚構叙事留下了餘地。三、《言語》、《浮詞》、《叙事》等篇對叙事語言時代性、地域性的論述，给文學創作提供了直接的指導性意見。四、《叙事》篇論“用晦”，對詩詞與小説創作均有深刻影響。《史通》所論與文學有關者，尚不止此，但僅上述已足以使其在中國文學史和批評史上佔據重要地位。Chine

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Kuang, Lanlan. "Staging the Silk Road Journey Abroad: The Case of Dunhuang Performative Arts." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1155.

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The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sou

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李, 豐楙. "暴力修行：道教謫凡神話與水滸的忠義敘述". 人文中國學報, 1 жовтня 2013, 147–80. http://dx.doi.org/10.24112/sinohumanitas.192182.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English. 對於《忠義水滸傳》可以采取宗教文學的現代讀法，就是從“暴力修行”的角度切入解讀，所采用的即是“出身修行”的奇傳文體，在三教與小説的關係中，只有從道教文化才能深入理解其創作旨趣。從《宣和遺事》所保存的古本到後來的百回定本，兩本之間的敘述儘管繁簡的差異極大，但是在宗教文化的淵源上仍可見其間存在的内在關聯，其一即是天書母題（motif）：從一卷到三卷，都反映道教與民間的九天玄女信仰，相信其秘授兵符與王朝的開國創業神話有關；其二爲謫凡母題：從下凡到謫凡乃是在凡間的修行，這種思想既爲小説戲劇夙所傳承，也是全真道與净明忠孝道的教内思想；其三則是一僧一道母題：代表佛教之眼與道教之眼，從出現魯智深與公孫龍之名到繁本的詳細敘述，都各以高僧與高道的身份預示宋江的未來命運。從遺事本到定本的敘述者都依據道教文化改造巨盜宋江，使其成爲星主宋江，其形成的時期應該在金元統治下的華北地區，反映漢軍世家在北方持久抗金、抗元的忠義意識，連同華北的漢人都曾基於民族認同，借用傳述宋江及其兄弟的“忠義”事迹，寓托其同情忠義軍首領所遭遇的命運，類似的事例就如邵青、李全等其人其事。歷來的索隱派均指陳水滸好漢曾被用於影射忠義軍的領袖，而小説敘述形成的關鍵，則是借用謫凡神話夸説其人物的

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Ribas-Segura, Catalina. "Pigs and Desire in Lillian Ng´s "Swallowing Clouds"." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.292.

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Introduction Lillian Ng was born in Singapore and lived in Hong Kong and the United Kingdom before migrating to Australia with her daughter and Ah Mah Yin Jie (“Ah Mahs are a special group of people who took a vow to remain unmarried … [so they] could stick together as a group and make a living together” (Yu 118)). Ng studied classical Chinese at home, then went to an English school and later on studied Medicine. Her first book, Silver Sister (1994), was short-listed for the inaugural Angus & Robertson/Bookworld Prize in 1993 and won the Human Rights Award in 1995. Ng defines herself as a

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Watson, Robert. "E-Press and Oppress." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2345.

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   From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elepha

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