Journal articles: 'Chinese literature Postmodernism (Literature)'

1

Dirlik, A. "Postmodernism and Chinese History." boundary 2 28, no. 3 (September 1, 2001): 19–60. http://dx.doi.org/10.1215/01903659-28-3-19.

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Arac, Jonathan. "Chinese Postmodernism: Toward a Global Context." boundary 2 24, no. 3 (1997): 261. http://dx.doi.org/10.2307/303716.

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Yiwu, Zhang, and Michael Berry. "Postmodernism and Chinese Novels of the Nineties." boundary 2 24, no. 3 (1997): 247. http://dx.doi.org/10.2307/303715.

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Fokkema, D. "Chinese Postmodernist Fiction." Modern Language Quarterly 69, no. 1 (January 1, 2008): 141–65. http://dx.doi.org/10.1215/00267929-2007-029.

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Damm, Jens. "Angelwings: Contemporary Queer Fiction from Taiwan. Edited and translated by Fran Martin. [Honolulu: University of Hawai‘i Press, 2003. 248 pp. $18.95. ISBN 0-8248-2661-2.]." China Quarterly 176 (December 2003): 1116–18. http://dx.doi.org/10.1017/s0305741003400635.

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This collection of ten short stories from the 1990s, translated and annotated by Fran Martin, highlights the importance of the topic “queer” in a non-Western context. Not only is the excellent quality of the translation worthy of mention; the familiarity of the author with queer theory, Taiwanese social history and Chinese literature in general is also outstanding.In her detailed introduction, Fran Martin illustrates vividly the relevance of tongzhi-literature (tongzhi wenxue is the expression currently used to describe the same-sex discourse in the Taiwanese world) within the broader transformation of Taiwanese society in general and “in the public discourse on sexualities” in particular (p. 2). She attributes the development of tongzhi-literature and the more recent sub-genre of ku'er-literature (ku'er wenxue or “queer literature”) to the rise of postmodernism (houxiandai zhuyi) in post martial-law Taiwan (p. 4–5).

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Litvinova, Olga N. "Chinese Gretchen in Russian Literature: on the Genesis and Attribution of M. Shkapskaya’s Poetry Book Tsa-Tsa-Tsa." RUDN Journal of Studies in Literature and Journalism 26, no. 2 (December 15, 2021): 177–87. http://dx.doi.org/10.22363/2312-9220-2021-26-2-177-187.

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This article examines in detail Maria Shkapskayas poetry book Tsa-Tsa- Tsa (1923) and its handwritten genesis. It explains the role and significance of ancient Chinese poetry for this literary piece of work. The problem is to attribute the texts that make up the book and find out their translated or stylized basis. The general thesis is that all the poetic texts of the book are translations: the names of Tao-Yuan-Ming, Du Fu, and Bo-Juyi indicated by Shkapskaya in the manuscripts are reported. One of the texts in the book is attributed as the Sixth Poem from the Shi ju gu shi ( Nineteen Ancient Poems ). The removal of the names of Chinese authors (not only in the book published in 1923 but also in the manuscript of 1921) and the alignment of the thematic word series silk, crane, thousand, spring that organize the book into a single text indicate a tendency to blur the border of the own-alien text (even though the book was treated by the author as translation from the Chinese, in autobiographies and correspondence). This trend leads to the appearance of a central artistic image of the book (it is a feature of M. Shkapskayas poetic books). It is the image of a lonely, longing woman. The mention of the spinning wheel connects this image with the popular (especially in Western European literature) image of Gretchen. This way the poetry book Tsa-Tsa-Tsa goes beyond the narrowly translated work and reveals some features of chronologically later literary trends (such as postmodernism and metapoesis).

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7

Seligey, V. V. "THE TRANSCULTURAL VISTA OF REASSESSING THE DISCOURSE OF CHINESE TRADITION IN GUO DINSHEN’S ESSAY COLLECTION “THE UGLY CHINAMAN AND THE CRISIS OF CHINESE CULTURE”." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 338–49. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-338-349.

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The creative work of modern Taiwanese writer Ho Dinsheng is considered for the first time in the Ukrainian literary studies. The analysis is focused on the peculiarities of the intertextual semantics of transculturation in the essay collection "The Ugly Chinaman and the Crisis of Chinese Culture". The transcultural perspective is embodied as the project, akin to the tendencies of "culture criticism". The accusatory tone, the lashing portrayal of iconic stamps, resulted from simplifying projection of traditional culture into mass discourse, is combined with multiple allusion, reminiscence and quotation techniques, thus the complicated experiment of rereading and deconstructing artistic and philosophical tradition of China in the global perspective is carried out. Within broad context of global literature, the experiment features the reassessment of genre peculiarities of philosophical essay, lecture essay, explicit cultural pragmatism, emotional positivism akin to late Romanticism and modern projects, mildly developing the poetics of postmodernism.

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8

Wang, J. "The Mirage of "Chinese Postmodernism": Ge Fei, Self-Positioning, and the Avant-Garde Showcase." positions: east asia cultures critique 1, no. 2 (September 1, 1993): 349–88. http://dx.doi.org/10.1215/10679847-1-2-349.

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9

Ding, Ersu. "Philosophical Discourse of Postmodernity in the Chinese Context." New Literary History 28, no. 1 (1997): 21–29. http://dx.doi.org/10.1353/nlh.1997.0006.

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10

Liou, Liang-Ya. "Taiwanese Postcolonial Fiction." PMLA/Publications of the Modern Language Association of America 126, no. 3 (May 2011): 678–84. http://dx.doi.org/10.1632/pmla.2011.126.3.678.

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When the Japanese Nobel Laureate in literature KenzaburŌ Ōe visited Taiwan for a symposium held in his honor in December 2009, he hardly anticipated the political controversies into which he was thrown. Even before the conference, politicians accused the Academia Sinica, the organizing institution, of kowtowing to China by reducing a trilateral symposium involving Japan, Taiwan, and China to a “cross-strait event” and by replacing the Taiwanese novelist who was to act as Ōe's interlocutor with one more acceptable to China. Aside from the China factor, the underhanded politics tapped into ethnic tensions in Taiwan and the problematic national identity of Taiwan. While the original interlocutor, Li Ang, and her substitute, Zhu Tienwen, are critically acclaimed women novelists just a few years apart in age, Li is of Minnan ancestry and Zhu a second-generation Chinese mainlander whose father fled with the Chinese Nationalist or Kuomintang (KMT) government to Taiwan in 1949 after losing China to the communists. More important, Li is a postcolonial writer, whereas Zhu deploys postmodernism to resist decolonization.

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11

Ning, Wang. "The Mapping of Chinese Postmodernity." boundary 2 24, no. 3 (1997): 19. http://dx.doi.org/10.2307/303705.

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12

Bettinson, Gary. "9Film Theory." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 160–80. http://dx.doi.org/10.1093/ywcct/mbz009.

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AbstractIn this chapter I review six contributions to the field of film theory published in 2018: Carl Plantinga’s Screen Stories: Emotion and the Ethics of Engagement (Oxford University Press); Miklós Kiss and Steven Willemsen’s Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema (Edinburgh University Press); Nicholas Godfrey’s The Limits of Auteurism: Case Studies in the Critically Constructed New Hollywood (Rutgers University Press); Peter Krämer and Yannis Tzioumakis’s The Hollywood Renaissance: Revisiting American Cinema’s Most Celebrated Era (Bloomsbury Academic); Dorothy Wai Sim Lau’s Chinese Stardom in Participatory Cyberculture (Edinburgh University Press); and Gina Marchetti’s Citing China: Politics, Postmodernism, and World Cinema (University of Hawaii Press). The chapter has three sections: 1. Cognition, Emotion, and Ethics; 2. The New Hollywood; 3. Contemporary Chinese Cinema.

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13

Konistiawati, Stevani, and Hin Goan Gunawan, SS, M.TCSOL. "Narasi-narasi Kecil (Mikronarasi) dalam genre Fiksi Pedesaan Pendekatan Posmodernisme terhadap Cerpen Menghilang Bersama Angin karya Xing Qingjie." Bambuti 2, no. 2 (August 28, 2021): 65–85. http://dx.doi.org/10.53744/bambuti.v2i2.18.

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The short story text Disappearing with the Wind by Xing Qingjie as a representation of the rural fiction genre in Chinese Literature attempts to refute the grand narratives of modern fiction. For the author of the text, the power of modernity is not eternal, but can be subverted or deconstructed by giving acknowledgment to the small voices represented by Mr Zou, Sha Xiaobao, and the idiot woman in Disappearing with the Wind. This study uses a postmodernism approach to map the elements of disorientation, abnormality and small voices in that short story. Affirmation of the micronarrative is a way of working of postmodern fiction in challenging the power of modernity with the grand narrative as its main basis. For Xing Qingjie, reality does not always depend on big people, famous people, but can also be celebrated by village people, unusual people, including people who are marginalized in modern life. In his lawsuit, the presence of this text will emphasize that there is no central, no peripheral. All can be the center, and all can also be the periphery. Rural fiction pioneered by Lu Xun proves that denial of the power of grand narratives is possible in the same way that Xing Qingjie has done in a number of his works, including the short story Disappearing with the Wind.

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14

Doloughan, Fiona J. "Text design and acts of translation." Discourse Analysis and Translation Studies 4, no. 1 (June 5, 2009): 101–15. http://dx.doi.org/10.1075/tis.4.1.06dol.

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In relation to two contemporary works of literature, Monica Ali’s Brick Lane (2003) and Xiaolu Guo’s A Concise Chinese-English Dictionary for Lovers (2007), this essay sets out a view of reading and writing as essentially translational and transformational acts. It argues that text design and production in the contemporary age, at a time when many writers of works in English are the product of more than one culture and language, depend upon access to and the ability to transform a range of cultural and material resources. It is concerned with ‘how newness enters the world’ (Bhabha 2007) in the era of globalization and postmodernity and sees creativity as an outcome of both readerly and writerly acts of cultural, generic and linguistic translation.

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15

Ferrari, Rossella. "Architecture and/in Theatre from the Bauhaus to Hong Kong: Mathias Woo's Looking for Mies." New Theatre Quarterly 28, no. 1 (January 31, 2012): 3–19. http://dx.doi.org/10.1017/s0266464x12000012.

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In 2001 Mathias Woo, a trained architect and co-artistic director of Hong Kong's foremost performing arts group, Zuni Icosahedron, proposed the concept of ‘multimedia architectural music theatre’ (MAMT), which he later investigated through a series of performances focusing on three masters of modern architecture – Louis I. Kahn, Ludwig Mies van der Rohe, and Le Corbusier. This article traces the development of Woo's architectural theatre aesthetics by examining the most ambitious work in the series, Looking for Mies, premiered in 2002 and revived in 2009 and 2011. This links Hong Kong's twenty-first-century postmodernist theatre to early twentieth-century European modernism, particularly the Bauhaus, and international examples of architecture-centred performance. Looking for Mies unearths connections between theatre and architecture, and explores the relations between tradition and technology, man and machine, live performance and digitally mediated experience on the modern stage. Rossella Ferrari is a Lecturer in Modern Chinese Culture and Language at the School of Oriental and African Studies (SOAS), University of London. She has published articles in TDR: The Drama Review, Postcolonial Studies, Journal of Contemporary China, Modern Chinese Literature and Culture, and other journals. Her monograph Pop Goes the Avant-garde: Experimental Theatre in Contemporary China is forthcoming from Seagull Books, and her current research focuses on inter-Asian collaboration and performance networks in the Chinese-speaking world.

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16

Young Chul Suh. "Luhmann’s Systems Theory/Postmodernism/Literature." New Korean Journal of English Lnaguage & Literature 49, no. 4 (November 2007): 201–28. http://dx.doi.org/10.25151/nkje.2007.49.4.010.

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17

Gräbe, Ina. "Introduction: Postmodernism and reading literature." Journal of Literary Studies 4, no. 4 (December 1988): 359–77. http://dx.doi.org/10.1080/02564718808529882.

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18

Batkin, Leonid. "On Postmodernism and "Postmodernism"." Russian Studies in Literature 33, no. 3 (July 1997): 62–85. http://dx.doi.org/10.2753/rsl1061-1975330362.

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19

Adelgeim, I. "Postmodernisation of literature, Polonisation of Postmodernism." Slavianovedenie, no. 4 (August 2019): 45–50. http://dx.doi.org/10.31857/s0869544x0005429-4.

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20

Hussein Muneer, Mohammed Abdul. "A LITERATURE REVIEW: POSTMODERNISM AND HISTORIOGRAPHIC METAFICTION." International Journal of Research in Social Sciences and Humanities 10, no. 02 (April 25, 2020): 161–68. http://dx.doi.org/10.37648/ijrssh.v10i02.012.

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21

Ryan, Rory. "Introduction: Postmodernism and the question of literature." Journal of Literary Studies 4, no. 3 (September 1988): 247–58. http://dx.doi.org/10.1080/02564718808529871.

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22

Idema, Wilt L. "Chinese Literature." Procedia - Social and Behavioral Sciences 2, no. 5 (2010): 7407–14. http://dx.doi.org/10.1016/j.sbspro.2010.05.105.

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23

Deshpande, G. P. "Chinese Literature." China Report 42, no. 1 (February 2006): 1–24. http://dx.doi.org/10.1177/000944550504200101.

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24

Ning, Wang. "Chinese Literature as World Literature." Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 43, no. 3 (2016): 380–92. http://dx.doi.org/10.1353/crc.2016.0030.

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25

Hume, Kathryn, and Brian McHale. "Constructing Postmodernism." American Literature 66, no. 1 (March 1994): 206. http://dx.doi.org/10.2307/2927481.

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26

McH., B., Matei Calinescu, Douwe Fokkema, Ihab Hassan, Arthur Kroker, David Cook, and Marilouise Kroker. "Exploring Postmodernism." Poetics Today 9, no. 4 (1988): 885. http://dx.doi.org/10.2307/1772969.

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27

Slavetskii, Vl. "After Postmodernism." Russian Studies in Literature 30, no. 1 (December 1993): 40–51. http://dx.doi.org/10.2753/rsl1061-1975300140.

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28

Gillespie, Gerald, Matei Calinescu, and Douwe Fokkema. "Exploring Postmodernism." Comparative Literature 42, no. 3 (1990): 284. http://dx.doi.org/10.2307/1770500.

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29

Duyfhuizen, Bernard, William D. Atwill, Alan Nadel, and Joseph Tabbi. "Containing Postmodernism." Contemporary Literature 38, no. 4 (1997): 763. http://dx.doi.org/10.2307/1208937.

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30

Selim, Samah. "Literature and Revolution." International Journal of Middle East Studies 43, no. 3 (July 26, 2011): 385–86. http://dx.doi.org/10.1017/s0020743811000456.

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The three-week uprising in Egypt that ended with the removal of Husni Mubarak on February 11 happened to coincide with the section of my spring course syllabus on the Egyptian novel from Najib Mahfuz to Ahmed Alaidy. As was the case for many of my colleagues and their students, the rapid and awe-inspiring events unfolding daily before us pushed purely academic concerns to the margins of class discussion. This tidal wave of revolutionary politics erupting into the classroom forced me to the realization that my larger syllabus was not simply some neutral or systematic survey of half a century's worth of Arabic literature. I began to think about the largely invisible dystopic intellectual and historical paradigms through which modern Arabic literature is often framed, at least in the United States. The nahḍa/naksa narrative, which compelled many of us to read Arab cultural history of the 20th century as a story of brief “awakening” followed by irredeemable decline and corruption, is clearly no longer tenable in the wake of February 11. This same narrative underpinned the highly self-conscious postmodernism that began to emerge in Egypt in the 1990s and that reached its apogee a couple of decades later at the end of the 2000s, a postmodernism that was celebrated (though by no means universally) as the true beginning of literary modernity and the emancipation of the subject from the dead weight of a past ideological age.

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31

McGillis, Roderick. "Introducing Children's Literature: From Romanticism to Postmodernism (review)." Lion and the Unicorn 27, no. 3 (2003): 437–43. http://dx.doi.org/10.1353/uni.2003.0037.

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32

Nilges, M. "The Presence of Postmodernism in Contemporary American Literature." American Literary History 27, no. 1 (October 22, 2014): 186–97. http://dx.doi.org/10.1093/alh/aju065.

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33

Fuchs, Miriam, Kathleen Ashley, Leigh Gilmore, and Gerald Peters. "Autobiography and Postmodernism." American Literature 67, no. 2 (June 1995): 416. http://dx.doi.org/10.2307/2927821.

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34

McH., B., Jonathan Arac, John Fekete, Jerome J. McGann, and Robert von Hallberg. "Postmodernism and Politics." Poetics Today 9, no. 4 (1988): 879. http://dx.doi.org/10.2307/1772965.

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35

McH., B., Douglas Kellner, Andrew Ross, Danuta Zadworna-Fjellestad, and Lennart Bjork. "Postmodernism/Jameson/Critique." Poetics Today 12, no. 1 (1991): 194. http://dx.doi.org/10.2307/1772995.

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36

Davis, Robert Murray. "When Was Postmodernism?" World Literature Today 75, no. 2 (2001): 295. http://dx.doi.org/10.2307/40156532.

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37

Iwamoto, Yoshio, Masao Miyoshi, and H. D. Harootunian. "Postmodernism and Japan." World Literature Today 64, no. 2 (1990): 364. http://dx.doi.org/10.2307/40146604.

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38

Shaviro, Steven, and Jonathan Arac. "Postmodernism and Politics." SubStance 17, no. 1 (1988): 95. http://dx.doi.org/10.2307/3685222.

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39

Cowart, David. "Attenuated Postmodernism: Pynchon'sVineland." Critique: Studies in Contemporary Fiction 32, no. 2 (December 1990): 67–76. http://dx.doi.org/10.1080/00111619.1990.9933800.

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40

Hagen, W. M., and Jonathan Arac. "Postmodernism and Politics." World Literature Today 61, no. 4 (1987): 682. http://dx.doi.org/10.2307/40143981.

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41

Spanos, William V., and Silvio Gaggi. "What Was Postmodernism?" Contemporary Literature 31, no. 1 (1990): 108. http://dx.doi.org/10.2307/1208640.

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42

Hoberek, Andrew. "Postmodernism and Modernization." Twentieth-Century Literature 57, no. 3-4 (2011): 341–53. http://dx.doi.org/10.1215/0041462x-2011-4001.

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43

김혜준. "Sinophone Literature, World Chinese Literature, and Overseas Chinese-Language Literature ― Mainland Responses on the Sinophone Literature Discourse." Journal of Chinese Language and Literature ll, no. 80 (April 2017): 329–57. http://dx.doi.org/10.26586/chls.2017..80.014.

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44

심경호. "Korean Sino-Literature and Chinese Classical Literature." CHINESE LITERATURE 52, no. ll (August 2007): 1–19. http://dx.doi.org/10.21192/scll.52..200708.001.

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45

LIESEGANG, TORSTEN. "New German Pop Literature": Difference, Identity, and the Redefinition of Pop Literature after Postmodernism." Seminar: A Journal of Germanic Studies 40, no. 3 (September 2004): 262–76. http://dx.doi.org/10.3138/sem.v40.3.262.

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46

Pšihistal, Ružica, and Jadranka Zlomislić. "Literature and the Crisis of the Humanities after Postmodernism." Folia linguistica et litteraria 21 (August 28, 2018): 199–212. http://dx.doi.org/10.31902/fll.21.2018.9.

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47

Hassan, Ihab. "BEYOND POSTMODERNISM." Angelaki 8, no. 1 (April 2003): 3–11. http://dx.doi.org/10.1080/09697250301198.

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48

Polishchuk, Yaroslav. "LITERATURE AND POST-TRUTH." Слово і Час, no. 6 (November 26, 2020): 57–71. http://dx.doi.org/10.33608/0236-1477.2020.06.57-71.

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The author examines the current state of literature, which has been marginalized by the boom of modern media and the free market. Literature is called to restore a worthy place in the system of cultural communication of society. It is contradicted by the experience of postmodernism, which has led to disorientation in the system of art values. Postmodernism was an important formation of the transition period. Three aspects of the postmodern worldview ― dehumanization of art, lack of truths' hierarchy and their plurality, and the loss of the author’s authority ― have led to a long-lasting crisis in the post-Soviet literatures, but in the wider context, it was a crisis of relations with society and public opinion. The continuation of this crisis is stimulated by the use of technologies aimed at producing the post-truth. In the contemporary world, dominated by mass media and popular culture, fiction is not fully responsible for the crisis of society. The author of the paper considers examples that confirm the relevance of literature to ideological conflicts and propaganda rhetoric. The novelties of Ukrainian, Russian, and Belarusian literatures provide good material for the study of the post-truth in its Eastern European modifications. Nowadays fiction is seeking its place once again; its potential means of influencing the human consciousness in the post-truth world are being renewed. This process should be seen dialectically, with its probable positive and negative consequences. The post-truth world gives literature a chance to leave the shadows of media and restore its authority in the cultural sphere. At the same time, the confluence of literary fiction with post-truth poses a considerable danger, since it may be applied in modern manipulative technologies. The establishment of social and psychological communication, which became one of the priority tasks of modern literature, should not be implemented at the cost of human degradation.

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49

McH., B., Linda Hutcheon, and Alison Lee. "The Politics of Postmodernism." Poetics Today 12, no. 1 (1991): 192. http://dx.doi.org/10.2307/1772994.

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50

Ball, Angela. "The Pleasures of Postmodernism." Antioch Review 59, no. 4 (2001): 733. http://dx.doi.org/10.2307/4614247.

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Journal articles on the topic 'Chinese literature Postmodernism (Literature)'

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