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Relevant bibliographies by topics / Erotic stories, Chinese Chinese fiction

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Academic literature on the topic 'Erotic stories, Chinese Chinese fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Erotic stories, Chinese Chinese fiction"

1

McMahon, Keith. "The Art of the Bedchamber and Jin Ping Mei." NAN Nü 21, no. 1 (2019): 1–37. http://dx.doi.org/10.1163/15685268-00211p01.

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Abstract The ‘art of the bedchamber’ texts occupy a key place in pre-modern Chinese sexual culture, sharing that place with an even larger body of texts of later origin, the sexually explicit novels and stories of the Ming (1368-1644) and Qing (1644-1911) dynasties, and Jin Ping Mei (The plum in the golden vase) in particular. The two genres – the texts of the bedchamber arts and Ming and Qing erotic fiction – have key commonalities, especially in the governing theme that not only must a man please a woman in sex, but that she is sexually formidable, and that he must be masterful in order to p

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2

Zakharova, Natalia V. "Love Fiction in China in the Second Decade of the 20 th Century: from Sentiments to Duck-Lovebirds and Butterflies." Studia Litterarum 6, no. 1 (2021): 88–110. http://dx.doi.org/10.22455/2500-4247-2021-6-1-88-10.

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The article analyzes the evolution of Chinese love fiction in the first years that followed the 1911 Xinhai revolution. The article focuses on literature representing “couples in love,” namely fiction about “duck-lovebirds and butterflies,” an invariant of the “love prose” genre. The authors of these works both continued the traditions of the previous literature and at the same time attempted at modernizing the genre. Chinese literary scholars have controversial opinions about this genre and its invariants. Controversies concern the literary movement to which these works should be attributed,

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Zakharova, Natalia V. "Love Fiction in China in the Second Decade of the 20 th Century: from Sentiments to Duck-Lovebirds and Butterflies." Studia Litterarum 6, no. 1 (2021): 88–103. http://dx.doi.org/10.22455/2500-4247-2021-6-1-88-103.

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The article analyzes the evolution of Chinese love fiction in the first years that followed the 1911 Xinhai revolution. The article focuses on literature representing “couples in love,” namely fiction about “duck-lovebirds and butterflies,” an invariant of the “love prose” genre. The authors of these works both continued the traditions of the previous literature and at the same time attempted at modernizing the genre. Chinese literary scholars have controversial opinions about this genre and its invariants. Controversies concern the literary movement to which these works should be attributed,

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4

Yang, Gladys. "Women Writers." China Quarterly 103 (September 1985): 510–17. http://dx.doi.org/10.1017/s0305741000030733.

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The number of Chinese women writers has increased considerably in the past few years. Some write poetry, essays, children's stories, reportage and television scripts. But since the majority write fiction, and they are the most influential, I will talk today about some middle-aged and younger women who have introduced new themes or written controversial work in recent years.

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5

Mlačnik, Primož. "Kafka “Shanghai-Ed”: Orientalist China in Kafka’s Fiction and Kafkaesque Phenomena in China." European Journal of Interdisciplinary Studies 5, no. 2 (2019): 36. http://dx.doi.org/10.26417/ejis-2019.v5i2-283.

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During a visit to Shanghai in August 2019, I attempted to use the auto-ethnographic method to answer a few general questions: what is the image of China in Kafka’s literary imagination, what is Kafkaesque in Shanghai, and what is Shanghai-esque in Kafka? Because the combination of theoretical interest, spontaneous ethnographic observations, and personal reflections proved insufficient to respond to these questions, I also analyzed Kafka’s ‘Chinese’ stories, namely The Great Wall of China, In the Penal Colony, The Message from The Emperor, An Old Manuscript, and The Letters to Felice, and two K

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Mlačnik, Primož. "Kafka “Shanghai-Ed”: Orientalist China in Kafka’s Fiction and Kafkaesque Phenomena in China." European Journal of Interdisciplinary Studies 5, no. 2 (2019): 36. http://dx.doi.org/10.26417/ejis.v5i2.p36-44.

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During a visit to Shanghai in August 2019, I attempted to use the auto-ethnographic method to answer a few general questions: what is the image of China in Kafka’s literary imagination, what is Kafkaesque in Shanghai, and what is Shanghai-esque in Kafka? Because the combination of theoretical interest, spontaneous ethnographic observations, and personal reflections proved insufficient to respond to these questions, I also analyzed Kafka’s ‘Chinese’ stories, namely The Great Wall of China, In the Penal Colony, The Message from The Emperor, An Old Manuscript, and The Letters to Felice, and two K

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7

LaFleur, Frances, and Michael S. Duke. "Worlds of Modern Chinese Fiction: Short Stories and Novellas from the People's Republic, Taiwan, and Hong Kong." World Literature Today 67, no. 1 (1993): 233. http://dx.doi.org/10.2307/40149034.

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8

Li, Mengjun. "‘Carving the Complete Edition’: Self-commentary, Poetry, and Illustration in the Early-Qing Erotic Novel Romance of an Embroidered Screen (1670)." East Asian Publishing and Society 7, no. 1 (2017): 30–73. http://dx.doi.org/10.1163/22106286-12341303.

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Scholars of late imperial Chinese fiction have demonstrated that Ming ‘literati novels’ possessed both intellectual sophistication and aesthetic seriousness. Nonetheless, the large corpus of mid-length fictional narratives of the Qing remains mired in problematic assumptions about its ostensibly popular nature. The self-commentaried edition ofEmbroidered screen(Xiuping yuan) presents a salient example for reassessing the nature of Qing novels and the reading of fiction in the seventeenth century. First circulated in manuscript copies, extensive auto-commentary was added when the novel was comm

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9

Ming, Feng-ying. "Red Is not the Only Color: Contemporary Chinese Fiction on Love and Sex between Women, Collected Stories (review)." China Review International 10, no. 1 (2003): 262–65. http://dx.doi.org/10.1353/cri.2004.0038.

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10

Liou, Liang-ya. "Autoethnographic Expression and Cultural Translation in Tian Yage's Short Stories." China Quarterly 211 (September 2012): 806–26. http://dx.doi.org/10.1017/s030574101200080x.

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AbstractThis article explores how three short stories set in 1980s Taiwan by the Taiwanese aboriginal writer Tian Yage (Tuobasi Tamapima) can be read as autoethnographic fiction as well as modern fiction, portraying contemporary Taiwanese aboriginal society caught between indigenous folkways and colonial modernity, and how the narrators of the stories tackle cultural translation. I begin with a discussion of Sun Ta-chuan's caution in 1991 as the Taiwan Aboriginal Movement was evolving into the Taiwan Aboriginal Cultural Revivalist Movement. After analysing anthropology's relationship with abor

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Dissertations / Theses on the topic "Erotic stories, Chinese Chinese fiction"

1

Chan, Kenneth, and n/a. "Chinese history books and other stories." University of Canberra. Creative Communication, 2005. http://erl.canberra.edu.au./public/adt-AUC20061020.144139.

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My thesis is a creative writing doctorate which focuses on one Chinese family's adaptation to living in Australia in the mid-twentieth century. The thesis is in two parts. Part I is an examination of Chineseness and identity within the context of the short stories that make up Part I1 of the thesis. In Part I, I have looked at the place of the Chinese within the larger, dominant cultures of America and Australia. In particular, I have discussed the way in which the discourses of the dominant culture have framed Chineseness; and also what it might mean to describe authentic and essential qualit

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2

Fang, Zhihua White Ray Lewis. "Twentieth century Chinese and American short fiction a comparative analysis /." Normal, Ill. Illinois State University, 1993. http://wwwlib.umi.com/cr/ilstu/fullcit?p9411037.

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Thesis (D.A.)--Illinois State University, 1993.<br>Title from title page screen, viewed February 21, 2006. Dissertation Committee: Ray Lewis White (chair), William Bohn, Irene Brosnahan, Douglas Hesse, Curtis White. Includes bibliographical references and abstract. Also available in print.

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3

Cai, Zheng. "Cold literature on Gao Xingjian's novels and stories /." online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?MR29875.

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4

陳器文 and Chi-wen Chen. "A study of the ordeal stories in Chinese popularfictions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31236637.

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Yuan, Honggeng. "From conventional to experimental : the making of Chinese metaphysical detective fiction /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21556398.

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袁洪庚 and Honggeng Yuan. "From conventional to experimental: the makingof Chinese metaphysical detective fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B43894422.

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7

Lin, Xiangcheng. ""San yan" gu shi de jie gou fen xi = The San-yen stories : a structural analysis /." click here to view the abstract and table of contents, 1999. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b15646440a.pdf.

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8

陳淸貴 and Ching-kooi Chan. "Narrative techniques of Taiwan short stories." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/b30252866.

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Choi, Po-ki. "Male images in the romantic stories in the chuanqi genre of the Tang dynasty Tang chuan qi ai qing xiao shuo de nan xing xing xiang /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42926178.

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齊曉楓 and Hsiao-feng Chi. "Patterns of husband selection in traditional Chinese fiction and drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.

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Books on the topic "Erotic stories, Chinese Chinese fiction"

1

Qing se shi ji mo: Xiao shuo, xing bie, wen hua, mei xue = Gender, sexuality, and the fin de siècle : studies in erotic fictions. Jiu ge chu ban she you xian gong si, 2001.

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2

Jin ji yu fang zong: Ming Qing yan qing xiao shuo wen hua yan jiu. Qi Lu shu she, 2005.

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3

Guisso, R. W. L. Of woman by woman: Two erotic novellas from Ming China. Peter Lang, 2010.

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4

Yu yan de tou shi: Zhongguo dang dai xiao shuo yu xing wen hua. Xianggang jiao yu tu shu gong si, 1999.

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5

Zhongguo gu dai yan qing xiao shuo shi. Zhong yang bian yi chu ban she, 2008.

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6

Xian dai xing ai de Zhongguo xing xiang jian shi: Zhongguo xian dai ai qing xiao shuo chou yang fen xi = Modern love. Heilongjiang ren min chu ban she, 2009.

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7

Wen, Yu, ed. Chen lou zhi quan zhuan. Bai hua wen yi chu ban she, 1987.

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8

Yushanlaoren, ed. Chen lou zhi. Lijiang chu ban she, 1994.

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9

Douglas, Robert K. Chinese stories. G. Brash, 1990.

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10

Gu jin yan shi zheng bian: Xiang yan xiao shuo. Beijing zhong xian tuo fang ke ji fa zhan you xian gong si, 2012.

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Book chapters on the topic "Erotic stories, Chinese Chinese fiction"

1

Huang, Yonglin. "Romantic Fiction and Erotic Fiction." In Narrative of Chinese and Western Popular Fiction. Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-57575-8_8.

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2

Huang, Yonglin. "Science Fiction and Fantasy Stories." In Narrative of Chinese and Western Popular Fiction. Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-57575-8_7.

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3

"List of Stories." In Love and Women in Early Chinese Fiction. The Chinese University of Hong Kong Press, 2008. http://dx.doi.org/10.2307/j.ctv1kwxf47.12.

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4

"12. Zhou Shoujuan’s Love Stories and Mandarin Ducks and Butterflies Fiction." In The Columbia Companion to Modern Chinese Literature. Columbia University Press, 2016. http://dx.doi.org/10.7312/dent17008-013.

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5

"THE INFLUENCE OF CHINESE STORIES AND NOVELS ON KOREAN FICTION." In Literary Migrations. ISEAS Publishing, 2013. http://dx.doi.org/10.1355/9789814414333-006.

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6

Daw, Sarah. "The Influence of Chinese and Japanese Literature on J. D. Salinger’s Philosophy of Nature." In Writing Nature in Cold War American Literature. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430029.003.0004.

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Chapter Three begins with analysis of the function of the American West in J. D. Salinger’s The Catcher in the Rye (1951). The chapter goes on to reveal that Salinger’s literary depictions of Nature are significantly informed by the Americanised translations of Chinese and Japanese philosophical texts that he was studying from as early as 1946. The chapter uncovers the sources of translated Taoism to which Salinger was exposed, revealing that the translators Salinger mentions by name in his literary fiction all markedly foreground the role of Nature in their ‘American versions’ of classical Chinese and Japanese texts. Chapter Three then applies this research in close readings of two of Salinger’s later long stories, ‘Raise High the Roof Beam, Carpenters’ (1955) and ‘Seymour: An Introduction’ (1959), and offers a new reading of The Catcher in the Rye. These ecocritical readings expose the substantial influence of the ‘American versions’ of Taoist texts that Salinger studied on his literary depictions of an infinite and ecological Nature.

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7

Song, Mingwei. "Liu Cixin’s Three-Body Trilogy." In Lingua Cosmica. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041754.003.0007.

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This chapter introduces the life and work of Liu Cixin, a Chinese science-fiction writer who has played a major role in reviving the genre in twenty-first-century China. The chapter discusses Liu’s work in the context of the genre’s history in China. Liu and other writers belonging to the same generation have created a new wave, in which the genre has gained unprecedented popularity in China. The main part of the chapter analyzes several major works by Liu and attempts to theorize the aesthetics and politics of the new wave as represented in Liu’s stories and novels. The new wave makes visible the hidden dimensions of Chinese science fiction, together with the darker side of reality that it speaks to.

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