Relevant bibliographies by topics / Chinese literature Modernism (Literature)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Chinese literature Modernism (Literature)'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Chinese literature Modernism (Literature)"

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Semenist, I. "MODERNISM IN CHINESE “SEARCH FOR ROOTS” LITERATURE OF THE 1980s." Studia Philologica, no. 2 (2019): 120–26. http://dx.doi.org/10.28925/2311-2425.2019.13.17.

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Landa, Sara. "On the Interplay between Poets’ and Philologists’ Translations of Chinese Poetry into German." Comparative Critical Studies 17, no. 2 (June 2020): 245–62. http://dx.doi.org/10.3366/ccs.2020.0361.

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‘[I]t has unfortunately become a fashion that people who obviously cannot claim to have any legitimation or any understanding in the field of sinology […], take hold of the sinological works of others and exploit them merely for business reasons’, complains the sinologist Leopold Woitsch in 1924, referring to Albert Ehrenstein's newest translations of Chinese poetry. The debate on who could authoritatively translate Chinese poetry was fiercely contested in German modernist circles and still rages to this day. Most scholars still contrast ‘poetical’ and ‘scholarly’ translations of Chinese poetry, either claiming that the former in an intuitive way come closer to the original, or criticizing the work of the poets who did not possess the linguistic and cultural background knowledge to dare approach Chinese poetry. However, it is exactly the interaction between the two modes that shaped the German reception of Chinese poetry in the twentieth century. Referring to a number of examples from the early-twentieth-century adaptations of Tang poetry, this article offers a more differentiated perspective on the cooperative and competitive relations between poets’ and scholars’ translations of Chinese poetry. Against the background of controversies surrounding ‘legitimate’ translations which shaped literary modernism in the early twentieth century, I show how the poetic and scholarly approaches were (and remain) closely interconnected, and discuss the thematic and aesthetic implications of this interrelationship.
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Bo, L. Maria. "Freedom Over Seas: Eileen Chang, Ernest Hemingway, and the Translation of Truth in the Cold War." Comparative Literature 71, no. 3 (September 1, 2019): 252–71. http://dx.doi.org/10.1215/00104124-7546276.

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Abstract This article examines Eileen Chang’s 1953 translation of Ernest Hemingway’s The Old Man and the Sea into Chinese as Cold War propaganda for the United States Information Service (USIS). It argues that this translation, meant to show the truth of democracy through its high modernist form, directly influenced the writing and translating of The Rice-Sprout Song (1955), the novel Chang wrote next for the USIS to expose the truth of famine in Communist China. I show that Chang’s translation practices connect US and Chinese literary modernisms in a showdown of literary forms and their disparate claims to the truth. Chang navigates political ideologies by eschewing linguistic equivalence to favor equivocation instead, ultimately transforming Hemingway’s modernist form via her own. It thus adds to transpacific studies and Cold War historiography by revealing the intimate relationship between political ideology and literary form, and their cross-fertilization in the process of translation.
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Tang, Xiaobing. "Lu Xun's "Diary of a Madman" and a Chinese Modernism." PMLA 107, no. 5 (October 1992): 1222. http://dx.doi.org/10.2307/462876.

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Kinkley, Jeffrey C., Wang Meng, and Wendy Larson. "Bolshevik Salute: A Modernist Chinese Novel." World Literature Today 64, no. 4 (1990): 697. http://dx.doi.org/10.2307/40147076.

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Hashimoto, Satoru. "World of Letters." Journal of World Literature 1, no. 1 (2016): 39–51. http://dx.doi.org/10.1163/24056480-00101005.

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While the discourse of national literature was fully espoused in modern China, many Chinese classics were transposed into Europe and had a unique impact on European modernist literature. Overshadowed by these oft-discussed dynamics are Chinese modernists’ own engagements with the nation’s classics. Focusing on Daodejing, the foundational work of the Daoist canon, this paper compares Lu Xun’s modernist retelling of the legend of the birth of Daodejing with Walter Benjamin’s commentary on Bertolt Brecht’s poem featuring the same anecdote. This paper argues that both works, by reconstructing the scene of Daodejing’s first inscription, engage with this text in its lost original moment, which precedes any national identification. They open the text up to other configurations, thereby projecting alternative literary worlds. This paper thus questions the dominant conception of world literature as consisting of the circulation of nationally identified works of literature.
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Caple, Jane. "Rethinking Tibetan Buddhism in Post-Mao China, 1980–2015." Review of Religion and Chinese Society 7, no. 1 (May 20, 2020): 62–91. http://dx.doi.org/10.1163/22143955-00701004.

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The literature on Tibetan Buddhism in post-Mao China presents a bifurcated history: ethnic nationalism and (traditional) identity are foregrounded in scholarship on the revitalization of Tibetan Buddhism in Tibet; consumption and/or (global) modernism are emphasized in studies of its spread in Sinophone China. Although there are considerable historical and social differences between these different constituencies, these characterizations do not fully capture the social differences, as well as convergences, that have shaped everyday engagements with Tibetan Buddhism among Tibetans and Chinese. Drawing on ethnographic data collected in northeastern Tibet and other recent ethnographic studies, I attempt to complicate this picture, arguing that we need to pay greater attention to the affective dimension of Chinese engagements, the social embeddedness of Tibetan Buddhist institutions in the Tibetan context, and the transformations that have taken place in Tibetan areas, as elsewhere in China.
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Hong, Jeesoon. "Lily Briscoe's Chinese Eyes: Bloomsbury, Modernism and China. By Patricia Laurence. [Columbia, SC: University of South Carolina Press, 2003. 488 pp. £45.95. ISBN 1-57003-505-9.]." China Quarterly 178 (June 2004): 534–35. http://dx.doi.org/10.1017/s030574100438029x.

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This book project began in 1991 when Patricia Laurence, a scholar of Virginia Woolf, encountered a collection of unpublished letters and papers belonging to some members of the Bloomsbury Group and to Ling Shuhua, a renowned modern Chinese woman writer. Although some scholars have read and responded to the materials Laurence used in this book, her expansive coverage, freely traversing the boundaries of time, nation and artistic genres, is exceptional.The work deals mainly with the intercultural communications between Chinese and British intellectuals in the first half of the 20th century, particularly those between the modernist literary ‘communities’ of the Crescent Moon Group and Bloomsbury. The work is the outcome of the author's dedicated research on the subject over ten years, ever since her discovery of the letters, which motivated her to learn the Chinese language and to attend lectures and seminars in modern Chinese literature.
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Zhao, Guangxu, and Luise von Flotow. "Translating iconicities of classical Chinese poetry." Semiotica 2018, no. 224 (September 25, 2018): 19–44. http://dx.doi.org/10.1515/sem-2016-0206.

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Abstract In the history of translating classical Chinese poetry, there are two kinds of translators. The first kind translate classical Chinese poetry “by way of intellectual, directional devices” (Yip, Wai-lim. 1969. Ezra Pound’s Cathay. Princeton, NJ: Princeton University Press: 16). What these translators are concerned with most is the coherence of their translations. They give little attention to the ideogrammic nature of Chinese characters. I call them traditional translators. These translators include those in the history of translating classical Chinese poetry from its beginning to the first decade of the twentieth century, although there are still some who translate classical Chinese poetry in this way later. The second kind of translator is highly interested in the images created by ideogrammic Chinese characters and tries to convey them in target language. We call them modernist translators. These translators are represented by some American modernist poets such as Ezra Pound, Amy Lowell, Florence Ayscough, etc. From the point of view of iconicity, modernist translators’ contribution lies in their concern with the iconic characteristics of Chinese characters. But they did not give enough attention to syntactical iconicity and textual iconicity in classical Chinese poetry.
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Semenist, Ivan. "“Misty Poetry” as a reflection of the nature of Chinese literature of the “New Period” (second half of the 20th century)." Synopsis: Text Context Media 26, no. 4 (2020): 145–50. http://dx.doi.org/10.28925/2311-259x.2020.4.5.

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The subject of the study is the formation of “Misty Poetry” trend in Chinese literature of the late 20th century. The study aims at the disclosure of the dynamics of “Misty Poetry” within modernist paradigm against the backdrop of Chinese literature of the “New Period”. The method is grounded in identification of key modernist poetics categories, perceived and transformed in the versification practice of Misty Poetry. Sociocultural contextualization method is employed to locate Misty Poetry in the post Cultural Revolution aesthetic and ideological context of China. The study results cover the lyrical attempt at a modernistic search for identity in Chinese literature of the “New Period”. The pursuit of self and vaster category of identity is considered and comprehensively analyzed through the array of representative poetic texts (Zhang Ming, Meng Lang, Bei Dao, Duo Duo). “Misty Poetry” marked the beginning of the “New Period” in the history of modern Chinese literature. The trend demonstrated qualitative changes in the ideological foundations and artistic practice of the new poetry of China in the 20th century. “Misty Poetry” became a kind of aesthetic protest against the ideological and artistic clichés of the preceding cultural-historical era. The concept of “self” within the paradigm of Misty Poetry is corroborated to be perceived as an independent consciousness, not dictated by any ideology or doctrine, disclosed through the means of a poet’s internal thoughts depictions, both conscious and subconscious. The paper results demonstrate the transformative potential of the Misty Poetry trend poetics on prosodic level, level of stylistic imagery and genre specificity. The paper interpretative results explore the significance of the “Misty Poetry” in the way that it revived and gave a new impetus to the further development to the humanistic orientation of Chinese poetry. The novelty is connected with the aesthetic means of territorializing the marginal space that provides the poet and the poetic protagonist with a critical distance from the dominant discourse of the political-cultural establishment of post Cultural Revolution China are disclosed. The paper concludes the Misty Poetry trend drew attention to the subjective beginning in art and opened the discourse for an active search for a new artistic reality in which the legacy of classical poetry of China, the best humanistic traditions of the new poetry of the early 20th century and the modernist features of Western poetry were combined.
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Dissertations / Theses on the topic "Chinese literature Modernism (Literature)"

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Macdonald, Sean. "Chinese modernism autonomy, hybridity, gender, subalternity : readings of Liu Na'ou, Mu Shiying, Shi Zhecun, Ye Lingfeng and Du Heng /." [Montréal] : Université de Montréal, 2002. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ73478.

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Thèse (Ph. D.)--Université de Montréal, 2002.
"NQ-73478." "Thèse présentée à la faculté des études supérieures en vue de l'obtention du grade de Ph. D. littérature option théorie et épistémologie littéraire." Version électronique également disponible sur Internet.
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Trumbull, Randolph. "The Shanghai modernists." online access from Digital dissertation consortium, 1989. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9011591.

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Wang, Fan. "Localities of global modernism : Fei Ming, Mu Dan and Wang Zengqi." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/760.

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This thesis seeks to map out the development of literary modernism in the 1930s and 1980s People's Republic of China (PRC). Despite the long temporal halt, these two periods are innately and historically related to each other. Much as Chinese literary modernism was a literary legacy of Western modernism, its decades-long development provided it with the conditions for a second life. When it reemerged in the 1980s, it bore unique national characteristics that, in turn, enriched the realm of global modernism. In short, the distinct historical and national context of the twentieth century China dictated that Chinese literary modernism could not be a mechanical reproduction of its Western counterpart. The importation and translation of Western modernist creative and critical works, together with the modernist practices of modern Chinese intellectuals, contributed to the formation and rise of modernist literature in the 1930s, as well as its revival in the 1980s PRC. Structurally, this thesis identifies three localities of global modernism in the works and literary theory of Fei Ming, Mu Dan, and Wang Zengqi. It argues that these writers' modernist practices and distinct writing styles not only represented the characteristics of Chinese literary modernism, but also added diversities to modernist literature in the global context. Methodologically, I pair the Chinese modernists with their Western counterparts, including Virginia Woolf and T.S. Eliot. This comparison helps to find similarities between modernist works across time and place, and to identify the unique features of Chinese literary modernism. In practice, when studying the three modernists' first encounters with literary modernism in Republican China, as well as their respective experience in the PRC, I seek to (i) present three modes of initiation of literary modernism at the beginning of the twentieth century; (ii) trace the development of literary modernism both in the republican era and its revival in the PRC; (iii) show the process of Chinese literary modernism growing its distinct characteristics and evidence its second life. In short, Chinese modernists' participation in the building of global modernism and their contributions to the enrichment of literary modernism in the global context are two foci of my thesis. In the final analysis, this thesis engages research on Chinese literary postmodernism. No matter the literary movement's status in the PRC, then and now, how and why it differs from the development of postmodernism in Western literature and culture are valuable research questions.
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Kao, Yi-Li. "Chinese poetry and painting in postwar Taiwan : angst and transformation in the negotiation between tradition and modernity /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170230.

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Ding, Xiaoyu, and 丁小雨. "Oscar Wilde and China in late nineteenth century Britain: aestheticism, orientalism, and the making of modernism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B50162780.

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This thesis studies Oscar Wilde’s encounter with the idea of China in late nineteenth century Britain. After Marcartney’s embassy to the Qing court and the two Opium Wars, “China” became an increasingly negative idea in nineteenth century Britain. Wilde’s sympathy with China under such historical circumstances induces reconsiderations of the relationship among aestheticism, orientalism, and modernism. The story of how Wilde utilized and appropriated Chinese culture is at the same time a story about how orientalism was used by British aestheticism to protest against the late Victorian middle-class ideology and invent the politics of modernist aesthetics. This thesis contributes to the study of the idea of China in nineteenth century Britain in general and to the scholarship on Oscar Wilde, aestheticism and modernism in particular. Wilde’s reading of Chuang Tzu and his appreciation of the anti-realist Chinese aesthetic and visual power embodied in patterned blue and white china helped him articulate his aestheticism. The thesis examines Chinese influence on his aesthetic, social and political ideas against British middle-class ideology. The historical contexts of Wilde’s encounter with Chinese philosophy and material culture are also scrutinized to show that China, as an exotic-familiar antithesis to British bourgeois ideology, became a critical point of reference for Wilde to launch his trenchant criticism of Western society. Works and collections by other proponents of British aestheticism, such as James McNeill Whistler and Dante Gabriel Rossetti, are also included to further demonstrate China’s role in the British Aesthetic Movement. The thesis is based on three interrelated central arguments: first, British aestheticism was a reaction to the social problems and consumer culture in late Victorian Britain, and it aims to aestheticize not only art, but also life and society; second, the nineteenth-century British construction of China, especially in the translation and deciphering of Chuang Tzu in early British sinology in Chapter one, and in Chapter Two, blue and white china’s visual anti-realism widely discussed and condemned in the late Victorian mass media, crucially participated in Wilde’s theory of art and British aestheticism in general; third, Wilde’s aestheticism, by incorporating Chinese thought and aesthetics, had experimented with modernist aesthetics before it came to be known as such. Although Wilde and other British aesthetes were complicit in the orientalist construction of China when placing China and the West into a binary position, they revised the nineteenth-century British imperial discourse that subjugated and denigrated the Orient and invested in the kind of Sino-British communication advocating and incorporating the aesthetic values of Chinese culture.
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Shi, Shumei. "Writing between tradition and the West Chinese modernist fiction, 1917-1937 /." online access from Digital dissertation consortium, 1992. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9301519.

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Zhou, Hao. "Representations of Cities in Republican-era Chinese Literature." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281335246.

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Feng, Liping. "Modernity and tradition : Chinese theories of literature from 1900 to 1930." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28445.

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This thesis examines the development of Chinese theories of literature in the early twentieth century: what was considered as literature, the role of the writer and reader, and the function of literature in society. The central purpose of the thesis is to retrace the Western-influenced theories of literature of the 1920s back to the theoretical developments at the turn of the century. The thesis also shows that, as a whole, modern Chinese theories of literature are deeply rooted in traditional Chinese poetics. In characterizing traditional Chinese theories, it compares the latter with the mimetic model of Western literature. Throughout the thesis, the account of the theoretical developments makes constant reference to the changes taking place within two major literary genres: lyrical poetry and the narrative.
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Xiong, Ying. "Herbs and Beauty: Gendered Poethood and Translated Affect in Late Imperial and Modern China." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23739.

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My dissertation is a comparative analysis of the juncture at which Chinese poetry became “modern.” The catalyst for this development was the early twentieth-century translation into Chinese of the European Romantics, which was contemporaneous with changes and permutations within the “herbs and beauty” myth crucial to the conception of the Chinese poet. I argue that the convergence of the two serve as an anchor for examining China’s literary responses, in both form and content, to drastic social change brought about by rapid modernization and dramatic revolutions. Through a diverse selection of written and visual texts, I scrutinize and accentuate two ambivalences that, I argue, China’s struggle for modernity required and to which the “herbs and beauty” myth gives form. On the one hand, I locate a moment when the essential femininity of the traditional Chinese poet (man or woman) came to be displaced onto the Western new woman, as the Southern Society, a large community of Chinese poets in the early 20th century, revamped the “herbs and beauty” allegory through their project of translating the European Romantics into Chinese. On the other hand, I investigate how modern Chinese poets and intellectuals, torn between their residual attachment to a hallowed national literary tradition and their new quest for non-indigenous (European) sources, partook in the difficult moments of China’s modern transformation by constantly redefining the interconnections between the beautiful and the virtuous through translation and transcultural relation. In each instance in question, the influence of translation causes a shift in modes of representation that require new definitions of what it means to be a poet in an increasingly unspiritual and commodified world: together, these examples enable me to conceptualize the poetics and politics of what I call “translated affect” and “affective modernity.”
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Poon, Siu-Mui. "Subjectivity and modernity : contemporary Chinese literature and culture from a comparative perspective." Thesis, University of Leeds, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391531.

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Books on the topic "Chinese literature Modernism (Literature)"

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Ideographic modernism: China, writing, media. New York: Oxford University Press, 2009.

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Ideographic modernism: China, writing, media. Oxford: Oxford University Press, 2010.

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Ideographic modernism: China, writing, media. Oxford: Oxford University Press, 2010.

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Lily Briscoe's Chinese eyes: Bloomsbury, modernism, and China. Columbia: University of South Carolina Press, 2003.

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Laurence, Patricia Ondek. Lily Briscoe's Chinese eyes: Bloomsbury, modernism, and China. Columbia: University of South Carolina Press, 2013.

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Whitmanism, imagism, and modernism in China and America. Selingsgrove [Pa.]: Susquehanna University Press, 1997.

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Ma Hua wen xue yu xian dai xing: The modernity of Malaysian Chinese literature. Taibei Shi: Xin rui wen chuang, 2012.

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The lure of the modern: Writing modernism in semicolonial China, 1917-1937. Berkeley: University of California Press, 2001.

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Wen yi yu Zhongguo xian dai xing: Wenyi yu Zhongguo xiandaixing. Wuhan Shi: Hubei jiao yu chu ban she, 2002.

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Orientalism, modernism, and the American poem. Cambridge [England]: Cambridge University Press, 1996.

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Book chapters on the topic "Chinese literature Modernism (Literature)"

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Huang, Yibing. "Duo Duo: An Impossible Farewell, or, Exile between Revolution and Modernism." In Contemporary Chinese Literature, 19–61. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230608757_2.

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Sun, Yifeng. "Translating Chinese modernity." In Translating Chinese Art and Modern Literature, 186–206. Abingdon, Oxon; New York, NY: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9781351001243-11.

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Visser, Robin. "Urban Ethics: Modernity and the Morality of Everyday Life." In Contested Modernities in Chinese Literature, 193–216. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403981332_12.

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Forges, Alexander Des. "The Rhetorics of Modernity and the Logics of the Fetish." In Contested Modernities in Chinese Literature, 17–31. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403981332_2.

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Longxi, Zhang. "Literary Modernity in Perspective." In A Companion to Modern Chinese Literature, 39–53. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118451588.ch2.

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Kinkley, Jeffrey C. "Modernity and Apocalypse in Chinese Novels from the End of the Twentieth Century." In Contested Modernities in Chinese Literature, 101–20. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1057/9781403981332_7.

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Xiaoming translated by Qin Liyan, Chen. "Socialist Literature Driven by Radical Modernity, 1950-1980." In A Companion to Modern Chinese Literature, 81–97. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118451588.ch5.

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Zhang, Yingjin. "Toward a Typology of Literary Modernity in China." In A Companion to Modern Chinese Literature, 483–500. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118451588.ch30.

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Xu, Guobin, Yanhui Chen, and Lianhua Xu. "Literature." In Understanding Chinese Culture, 107–35. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8162-0_5.

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Seymour-Smith, Martin. "Chinese Literature." In Guide to Modern World Literature, 361–68. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06418-2_9.

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Conference papers on the topic "Chinese literature Modernism (Literature)"

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RAJENTHIRAN, NIRUSIKA, H. A. S. MADHUWANTHI, D. M. P. P. DISSANAYAKE, and D. C. SIRIMEWAN. "CROSS-CULTURAL DIMENSIONS AND CROSS-CULTURAL ORIENTATIONS IN CONSTRUCTION PROJECTS: CASE STUDY OF SRI LANKA." In 13th International Research Conference - FARU 2020. Faculty of Architecture Research Unit (FARU), University of Moratuwa, 2020. http://dx.doi.org/10.31705/faru.2020.26.

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Significant issues affecting the success of construction projects due to globalisation is the establishment of a multicultural project team. Presently, China has emerged as one of Sri Lanka's main sources of foreign and commercial loans in an environment, where the island is seeking to rebuild and modernise infrastructure. However, the involvement of multi-cultural project teams often present unique challenges due to cross-cultural interactions, thereby, creating conflicts through construction projects, makes the conflict unavoidable. Therefore, this study was attempting to identify the cross-cultural dimensions and cross-cultural orientations in cross-cultural teamwork of Chinese contractors in construction projects in Sri Lanka. A qualitative approach was followed in this study in which multiple case study was selected as the most appropriate method for the research. Accordingly, semi-structured interviews were conducted among the selected four (4) respondents from each case to collect the data. Captured data was analysed by the manual content analysis method. An empirical investigation has been validated communication, leadership, trust, collectivism, team selection, uncertainty, team development and management as the common cross-cultural dimensions for all the three cases. This study added new cross-cultural dimensions to the literature in the context of Sri Lankan construction industry namely, coordination, harmony and customs with specific cross-cultural orientations. The study can be further developed to investigate strategies to manage intragroup conflicts occurs in cross-cultural teamwork of Sri Lankans and Chinese professionals in the Sri Lankan construction industry.
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Liao, Han-Teng, and Bin Zhang. "Chinese-language literature about Wikipedia." In OpenSym '14: The International Symposium on Open Collaboration. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2641580.2641617.

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"The Forms of Contemporary Chinese Literature." In 2020 International Conference on Educational Training and Educational Phenomena. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000908.

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Zhang, Xuemei. "Thoughts on Teaching Classical Chinese Literature." In 2015 International Conference on Social Science, Education Management and Sports Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/ssemse-15.2015.519.

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Govorukhina, Yu A. "Chinese View Of The Contemporary Russian Literature." In WUT 2018 - IX International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.04.02.49.

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Feng, Ting. "Literature Review on Chinese School Education Environment." In Proceedings of the 2018 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icemaess-18.2018.124.

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Sun, Nannan. "Research of Confucianism in American Chinese Literature." In 2017 International Conference on Innovations in Economic Management and Social Science (IEMSS 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iemss-17.2017.198.

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Tao, Jun. "Study on the Significance of Network Literature in the Development of Chinese Contemporary Literature." In 2016 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ieesasm-16.2016.191.

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Ye Li and Dan-Li Wen. "Research on mass literature retrieval for network." In 2010 Chinese Control and Decision Conference (CCDC). IEEE, 2010. http://dx.doi.org/10.1109/ccdc.2010.5498368.

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Li, Chen. "Talk about Chinese contemporary literature classic construction based on external factors generated by classic literature." In 2014 2nd International Conference on Advances in Social Science, Humanities, and Management. Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/asshm-14.2014.79.

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