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Relevant bibliographies by topics / Political fiction, Chinese

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Academic literature on the topic 'Political fiction, Chinese'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Political fiction, Chinese"

1

Yang, Jincai. "Political interrogation in contemporary Chinese fiction." Neohelicon 41, no. 1 (April 30, 2014): 145–56. http://dx.doi.org/10.1007/s11059-013-0223-8.

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Kinkley, Jeffrey C. "Chinese crime fiction." Society 30, no. 4 (May 1993): 51–62. http://dx.doi.org/10.1007/bf02695237.

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Imbach, Jessica. "Chinese Science Fiction in the Anthropocene." Ecozon@: European Journal of Literature, Culture and Environment 12, no. 1 (February 7, 2021): 121–37. http://dx.doi.org/10.37536/ecozona.2021.12.1.3527.

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A green future has become a central promise of the Chinese state and the environment is playing an increasingly important role in China’s bid to promote itself as a political alternative to the West. However, Chinese state environmentalism and its promotion of “ecological civilization” (shengtai wenming 生态文明 ) have so far proven more aligned with political interests rather than environmental goals. At the same time, low -orbit industrialization as a response to the climate change or the resurgent fantasy of p opulation control as a necessity from the standpoint of biology in environmentalist discourse are increasingly entangled with anxieties and speculations about Chinese visions of the future. Using Liu Cixin’s short story The Sun of China ( Zhongguo taiyang 中国太阳 , 2001) and the 2019 blockbuster science fiction movie The Wandering Earth ( Liulang diqiu 流浪地球 ) by Frant Gwo as its point of departure, this paper discusses how current narratives of the Anthropocene are reflected and negotiated in Chinese science fiction. While both works demonstrate the symbolic and economic importance of science and technology to China’s growth and self-image, they also reveal that we cannot separate questions of the planetary from the historical contexts, in which they emerge.

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4

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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5

ZHAO, HENRY Y. H. "The river fans out: Chinese fiction since the late 1970s." European Review 11, no. 2 (May 2003): 193–208. http://dx.doi.org/10.1017/s1062798703000206.

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The 25 years of the post-Mao era of Chinese fiction is divided into two distinct stages: the pre-1989 period, and the post-1989 period. If this division is true about almost everything else in China, it is especially true with literature. This is because literature had been used as a lethal weapon for political struggle by Mao before and during his regime, and this tradition, though strongly challenged in the post-Mao era, still lingers, though in very different forms now and much watered down. Even the recent trends of art for art's sake, or for the sake of entertainment, or for the sake of religious consciousness, could also be read as political gestures, and are indeed treated as such by Chinese literary officialdom, and also by Western China experts. Despite the fact that Chinese fiction has been highly politicized, this paper will examine, as much as possible, the development of fiction as an art. Only the artistic quality can support my argument that recent novels from China deserve not only more scholarly attention but also more reader appreciation than they have hitherto received around the world.

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Li, Peter. "War and modernity in Chinese military fiction." Society 34, no. 5 (July 1997): 77–89. http://dx.doi.org/10.1007/s12115-997-1043-0.

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Lovell, Julia. "Finding a Place: Mainland Chinese Fiction in the 2000s." Journal of Asian Studies 71, no. 1 (February 2012): 7–32. http://dx.doi.org/10.1017/s0021911811002993.

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The political, economic and social changes experienced by China over the past decade have been mirrored by transformations in the literary realm. Writers, editors, critics and readers have contended with the acceleration of commercialisation, the rise of the Internet, and the Communist Party's subtly changing attitude to creative freedom. This essay examines the creative responses of three critically acclaimed generations of novelists – born between the 1950s and 1980s – to this new climate. It considers the way in which writers have become entrepreneurs, managing their own personality cults over the Internet and through media spin. It discusses widespread corruption in literary reviewing; the weaknesses in editorial standards that affect the work of even the most mature voices writing today; and the fluid way in which novelists often abandon fiction for other professions or expressive forms, such as film. Finally, it considers the limits of literary freedom in China's one-party cultural system.

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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 (October 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 among the people the awareness of the changes they believed China most urgently required. Fiction was no longer considered as constituting insignificant and trivial writings. It was no longer the idle pastime of retired literati composed to entertain a small circle of their friends, or written by a discontented recluse to vent a personal grudge through a brush. The role of fiction came to be defined in relation to its utility as an influence on politics and society and its artistic quality was subordinated to such a definition.

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9

She, Xiaoling, and Jian Wen. "Modern Chinese Fiction (1919–1949) in Russia: Early Translation, Publication and Research." Vestnik of Saint Petersburg University. Asian and African Studies 13, no. 1 (2021): 4–18. http://dx.doi.org/10.21638/spbu13.2021.101.

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The article provides an overview of early Russian translations and publication of modern Chinese fiction (1919-1949). The approaches to the early study of the works of prominent representatives of modern Chinese literature are examined and the reasons why Soviet society is interested in their heritage are identified. Since the 1920s, well-known works of renowned Chinese writers have been frequently translated into Russian mainly by young sinologists. Most of them had been to China and had developed a direct understanding of the development of modern Chinese literature, translating primarily from Chinese and using English translations for various reasons occasionally. The Chinese and Soviet cultural activists also played an important role in the spread of modern Chinese prose in the USSR. At the same time, a serious study of modern Chinese prose began, and until the end of the 1940s was actually at the initial stage, being mainly of a socio-political nature as the study was determined by the state of the ideological atmosphere in Soviet society. Early researchers paid the most attention to the works of Lu Xun, referring to his ideological outlook and artistic merits. Overall, the early translation and study of modern Chinese fiction revealed to the Soviet reader the ideological and social aspects of the works of modern novelists belonging to the left flank of Chinese literature, and laid the foundation for more extensive and in-depth research of modern Chinese literature during the next phase.

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10

Nishant Kumar. "Understanding the Nobel Laureate ‘Mo Yan’ Through His Fiction." Creative Launcher 6, no. 1 (April 30, 2021): 54–62. http://dx.doi.org/10.53032/tcl.2021.6.1.07.

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One of the main characteristics of Contemporary Chinese Literature is that it has remained true to the time it represented. Although it has been used extensively to serve the political agenda of the Communist party on occasions, but it has managed to carry forward the idea of realism, which started to flourish during the May Fourth period. After the announcement of the policy of “Reform and Opening up” by Deng Xiaoping in the Post Mao period China, a brilliant story teller emerged from the rural area of Gaomi in Shandong province of China. This paper aims to understand the phenomena created by Mo Yan’s writings in contemporary period of Chinese literature. The paper initially has discussed the major trends in post-Mao period Chinese literature to provide the background for understanding the emergence of Mo Yan. The paper has tried to discuss the major trends in Mo Yan’s writings focusing on the fiction-world created by him in his novels. Then it has further analysed the characteristics of Mo Yan’s writings. Finally, through the analysis of available contents a conclusion has been drawn.

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Dissertations / Theses on the topic "Political fiction, Chinese"

1

賴芳伶 and Fangling Lai. "Late Qing political and social changes as revealed in thenovels of the 1895-1911 period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31233612.

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Reynolds, Hannah C. "The Electric Era: Science Fiction Literature in China." Wittenberg University Honors Theses / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617805441166436.

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Shernuk, Kyle, and Kyle Shernuk. "Queer Chinese Postsocialist Horizons: New Models of Same-Sex Desire in Contemporary Chinese Fiction, "Sentiments Like Water" and Beijing Story." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12403.

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This thesis represents an investigation into the strategies used by postsocialist Chinese male subjects to articulate their subjecthood and desires. The introduction explains the choice for using a phenomenological methodological approach in addressing the issue and also lays out the simultaneous goal of this thesis to inaugurate a move away from political allegorical interpretations as the standard for reading contemporary Chinese literature. The body chapters look at two different contemporary Chinese works to help illuminate the arrival of the Chinese subject. Using Wang Xiaobo's novella "Sentiments Like Water" and the anonymously penned online novel Beijing Story as case studies, this thesis investigates the ways alternative epistemologies and uses of history can undo pathological understandings of queerness and create new identities for Chinese subjects. The thesis concludes with thinking about the direction of the queer and Chinese studies fields and offers future points of investigation.

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4

Li, Mengjun. "In the Name of A Love Story: Scholar-Beauty Novels and the Writing of Genre Fiction in Qing China (1644-1911)." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406132481.

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5

Ng, Hoi-shan Crystal. "Rewriting Louis Cha's classical characters in filmic representation in response to the political and cultural mutation of Hong Kong 90S - Wong Kar Wai and Tsui Hark." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20272662.

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Ng, Hoi-shan Crystal, and 吳海珊. "Rewriting Louis Cha's classical characters in filmic representation inresponse to the political and cultural mutation of Hong Kong 90S -Wong Kar Wai and Tsui Hark." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951697.

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7

Wu, Jin. "The voices of revolt : Zhang Chengzhi, Wang Shuo and Wang Xiaobo /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3164086.

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Thesis (Ph. D.)--University of Oregon, 2004.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 215-226). Also available for download via the World Wide Web; free to University of Oregon users.

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8

"書寫瘋狂: 後解嚴時期台灣小說的歷史想像." 2012. http://library.cuhk.edu.hk/record=b5549355.

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瘋狂是人類文明的產物，一直被視為另類、邊緣，與理性對立，因而受到排斥。然而，文學上的「瘋狂」卻有其寶貴的價值，往往是反思與批判固有價值與主流意見的工具，據此發出異議聲音。本文關注這種書寫策略在當代台灣文學場域中的出現方式、文學價值與文化意義，因此以分析小說作品與文學脈絡來說明「瘋狂」的文學脈絡，闡釋當代台灣文學的現象與特色。
解嚴(1987 年)是台灣近三十年來的重大事件，亦是近年來台灣文化與本土論述的焦點所在。其影響不獨改變了政治與社會生態，亦為台灣的藝術文化帶來巨大衝擊。戒嚴成為台灣民眾不能磨滅的歷史記憶，各種異議的思想與言論遭受壓抑，直至解嚴才出現新局面，自九十年代開展多元文化思潮。當時，不少作家藉著「瘋狂」書寫另闢膜徑，重新構想歷史，揭藥文化霸權下的種種不安。台灣文學己藉由不同形式搖動一元論述的霸權，加上西方後現代、後殖民思潮的引入，學院的主動引介和翻譯，民間白發的社會運動等，皆為解嚴後的文化現象埋下種種伏線。從文學史脈絡而言，台灣的文學生產的確迅速回應了政治解禁，並以獨特的方式透露社會文化上的騷動。
為了掌握上述的歷史脈絡，本文以解嚴為時間標竿閱讀當代台灣小說，藉此分析解嚴與文學現象的互動關係，指出文學如何展示解嚴前後的歷史想像。因此，本文以「瘋狂」為切入點，分析以瘋狂為題材的書寫如何與解嚴前後己解放的議題對話，包括性別認同、身分與族群認同，挑戰政治霸權以及後工業經濟環境下的都市文化等，目的在於驗證「瘋狂」對後解嚴文學所起的作用和價值。
本文共分為七章。首章為緒論交代研究動機及方法;第二章為文獻回顧與述評，點出當前的研究成果;第三章旨在交代後解嚴時期小說場域狀況的概述，並界定「瘋狂」的文學意義，藉此論證台灣當代文學與文化的互動關係。第四章題為「國族瘋言與都市病」，借助張大春、李渝與黃凡的作品，切入認同政治與都市化問題對文學書寫的影響。第五章為「虛幻實景與不存在之存在」，旨在察看兩位小說家賀景演與紀大偉，如何藉書寫科幻來展示對未來世界與歷史景觀的想像，以展望當下發展中的文化議題。第六章為「神聖瘋狂與不可能之可能」，旨在檢視兩位將「瘋狂」書寫演繹得淋漓盡致的作家駱以軍與舞鶴，如何在作品中借助敘述肉體與心靈的瘋狂，探討在多元文化認同觀的氣氛下重思自我主體的問題。末章結論，以總結全文與展望將來的研究方向。
本文認為，後解嚴時期小說每以「瘋狂」的視角重新認知變動的世惰。這些作品透過創造各種怪誕場景與行為，呈現個體與權力之間的角力，反省語言與書寫策略的局限，以及批判自我主體的意識，因而為台灣當代文學場域帶來豐富的收獲。
Madness has its own history among civilizations. From time to time, madness is not only simply a kind of pathological disorder, but also takes a significant cultural role to represent the voiceless, the minorities. As in contemporary Taiwan literature,madness gradually becomes a medium to express different opinions to the society. It inquires from margin to centre which is empowered by the political establishment. It is not only a common topic to be discussed, but also an important writing strategy forwriters to proclaim their historical imagination about the past, present and future.
In 1987, a significant political issue, the Martial Law, was put to an end in Taiwan. After that, due to the liberation of freedom of speech, a booming trend of multiculturalism appeared and brought out great influences to all parts of the society, especially the field ofliterature. Many writers started to change their narration style and inclined their focus on minorities. In order to have a good grasp of this forming trend, hence, this study aims to trace back to the development of Taiwan literature after 1987, and examine how novel writers make use of the narratives of madness to state their own opinion on several topics, including the relationship between the subjectivity of one-self and the identity of the communities.
There are seven chapters in this paper. The introduction states the framework and methodology of the study. In chapter two, a literature review gives an insight into the direction in current research and discussion on the post-Martial Law era, in addition to the narrative of madness. Chapter three investigates the field of Taiwan literature after 1987 in order to discuss the interaction of culture and literature. In the fourth chapter, it studies on the fictions written by Li Yu (李渝, 1941- ), Chang Ta-chuen (張大春, 1957- ) and Huang Fan (黃凡, 1950- ), related to the issue on national identity and their ironic practices. In chapter five, it discusses the science fiction by He Jing-bing (賀景濱, 1958- ) and Chi Ta-wei (紀大偉, 1972-), to find out the projection about future based on the up coming and shifting cultural trend. The sixth chapter focuses on how the writers such as Wu He (舞雀, 1951- ) and Luo Yi-jun (路以軍, 1967- ) contributes to sanctification and internalization of madness, as well as enhance its value for a reflexive purpose. The last chapter concludes the overall findings and projects further research directions of the relevant topics.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
鄺梓桓.
Sumitted date: 2011年11月.
Sumitted date: 2011 nian 11 yue.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 203-222)
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Kuang Zihuan.
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 研究動機與目的 --- p.1
Chapter 第二節 --- 研究範團與方法 --- p.6
Chapter 第三節 --- 篇章概述 --- p.15
Chapter 第二章 --- 文獻回顧及評述 --- p.18
Chapter 第一節 --- 前行研究述評 --- p.18
Chapter 第二節 --- 相關文獻述評 --- p.25
Chapter 第三章 --- 世紀末的瘋狂-解嚴後台灣小說場域的狀況 --- p.37
Chapter 第一節 --- 何謂瘋狂 --- p.37
Chapter 第二節 --- 解嚴後台灣小說場城的狀況 --- p.42
Chapter 第四章 --- 國族瘋言與都市病 --- p.48
Chapter 第一節 --- 張大春論:國族瘋言與譜妄 --- p.50
Chapter 第二節 --- 李渝論:都市病 --- p.71
Chapter 第三節 --- 黃凡論:政治躁鬱症 --- p.87
Chapter 第四節 --- 小結 --- p.93
Chapter 第五章 --- 虛幻實景與不存在之存在 --- p.94
Chapter 第一節 --- 後解嚴時期的科幻小說 --- p.94
Chapter 第二節 --- <李伯夢三部曲>的敘事實驗 --- p.101
Chapter 第三節 --- <膜> 的性別與生命辯證 --- p.116
Chapter 第四節 --- <去年在阿魯吧>的虛擬實境 --- p.128
Chapter 第五節 --- 小結 --- p.138
Chapter 第六章 --- 神聖瘋狂與不可能之可能 --- p.141
Chapter 第一節 --- 駱以軍論:回歸自我之不可能 --- p.141
Chapter 第二節 --- 舞鶴論:走在不可能的邊緣之上 --- p.167
Chapter 第三節 --- 小結 --- p.196
Chapter 第七章 --- 結論 --- p.197
Chapter 第一節 --- 總結:讓瘋狂說話 --- p.197
Chapter 第二節 --- 研究反思與前瞻 --- p.199
參考書目 --- p.203

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9

"Body politics and female subjectivity in modern English and Chinese fiction." 2000. http://library.cuhk.edu.hk/record=b6073305.

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Lo Man-wa.
"December 2000."
Thesis (Ph.D.)--Chinese University of Hong Kong, 2000.
Includes bibliographical references (p. 207-253).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.

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10

Chen, I.-fei, and 陳逸飛. "Memory as Narrative Politics in Russell Leong's Queer Chinese American Autobiographical Fiction." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/61683836955929778155.

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碩士
國立彰化師範大學
英語學系
88
The study of Asian American identity politics has been mainly based on two axes of power-race and gender, that is, the well-known disputation between Asian American heroism and Asian American feminism, but the intervention of sexual preference, gay or lesbian, in identity politics, has been hardly articulated until recent years. Queer Asian American studies multiply the Asian American identity politics. In Chinese American literature, queer literary production is increasingly prosperous, but the criticism of queer Chinese American literature seems inadequately theorized. It is not enough to include sexualities into Chinese American studies; the most important task is that we need to look into sexualities from a sociopolitical, sociocultural perspective. It seems urgent, therefore, to attempt to discuss Russell Leong's queer Chinese American autobiographical fiction so as to really diversify the concept of Chinese American identity. The ultimate aim of this thesis is to reveal that the queer Chinese American autobiographical self in Leong's narrative of memory, unlike the traditional Western autobiographical sovereign self constructed upon fixity and power hierarchies, plays upon disruptions of binary oppositions: self/community, Chinese (Asian)/American (Western), hetero-/homo-sexuality, middle class/working class, body/reflection, and past/present. This thesis is divided into five chapters. The introductory chapter first defines Leong's fiction as queer fiction, testing boundaries of sexuality, ethnicity, class, and gender, and continues to construct the theoretical framework of the ethnic American collective singular autobiography and the ethnic self's uses of memory. Subsequent three chapters are criticisms of Leong's three stories respectively. Chapter Two discusses "Geography One," in which triple memories of Los Angeles life, same-sex love, and interethnic history entangled as queer Chinese American autobiographical writing result in imbrications of past, present, and future, of self, twin, and communities, and of America and East Asia. In Chapter Three, a Chinese American gay autobiographer, Terence, in "Phoenix Eyes," has queer, dialogical hybrid negotiations with collective memories: the given Chinese patriarchal, heterosexist system of sexual representations and the white racist narrative of sexual representation about Asian men going together. Chapter Four investigates how "Litany" is an embodied narrative of memory and reveals how body reflects the queer Chinese American autobiographical narrator's ethnic oppressions in America and accepted silence of sexualities in Chinatown family culture. The last chapter, "Cultural Negotiations: Narrative, Memory, and Queer," concludes that Leong's queer Chinese American autobiographical fiction is the result of complex political negotiations with American/Western culture and his ethnicity.

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Books on the topic "Political fiction, Chinese"

1

Shi zhang shou ji. Zhengzhou: Henan wen yi chu ban she, 2005.

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Zhang, Xudong. Chinese modernism in the era of reforms: Cultural fever, avant-garde fiction, and the new Chinese cinema. Durham, NC: Duke University Press, 1997.

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Runge, Ronald E. Singapore sling: The rise of the chinese dragon. Lincoln, NE: iUniverse, 2004.

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Kao shang gong wu yuan. Kunming Shi: Yunnan chu ban ji tuan gong si, 2010.

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Dang xiao. Nanjing: Jiangsu ren min chu ban she, 2009.

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Zero and other fictions. New York: Columbia University Press, 2011.

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The dissident. London: Picador, 2008.

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Corruption and realism in late socialist China: The return of the political novel. Stanford, Calif: Stanford University Press, 2007.

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Quan li guan xi de duo chong bian zou: Guan chang xiao shuo de lei xing xue yan jiu. Shanghai Shi: Shanghai da xue chu ban she, 2012.

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"Ge ming xu shi" yu xian dai xing: Zhongguo da lu "shi qi nian wen xue" yan jiu, 1949-1966. Taibei Shi: Wen shi zhe chu ban she, 2007.

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Book chapters on the topic "Political fiction, Chinese"

1

Keaveney, Christopher T. "The Limits of Subversion: Political and Social Critique in the Creation Society’s Early Fiction." In The Subversive Self in Modern Chinese Literature, 89–112. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1057/9781403980984_6.

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"Political Evaluation and Reevaluation in Contemporary Chinese Fiction." In Gender Politics in Modern China, 290–303. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822396840-017.

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Decker, Margaret H. "Political Evaluation and Reevaluation in Contemporary Chinese Fiction." In Gender Politics in Modern China, 290–302. Duke University Press, 1993. http://dx.doi.org/10.1215/9780822396840-016.

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Decker, Margaret H. "Political Evaluation and Reevaluation in Contemporary Chinese Fiction." In Gender Politics in Modern China, 290–302. Duke University Press, 1994. http://dx.doi.org/10.2307/j.ctv11hppt6.19.

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Kam, Tan See. "Shanghai and Peking Blues: Fiction as Imagined History." In Tsui Hark's Peking Opera Blues. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789888208852.003.0004.

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Peking Opera Blues is a mixed-genre film built out of intertextual allusions to other film genres and texts. This enriches the film’s addressivity and is achieved particularly by functioning as a companion piece to Tsui’s 1984 film Shanghai Blues. Both films share narrative devices that mesh historicity and fictionality, creating narratives framed by history imagined into fiction and fiction imagined as history. This may be theorized as a jiegu fengjin mode of social and political criticism (using the past to comment on or lampoon the present). This jiegu fengjin mode of narration in the two Blues films, especially in the context of relating the films’ political relevance to 1980s Hong Kong, is that it yokes together, in metafictional ways, a spatio-temporal imaginary that sutures the past (turbulent times in China) to the present (political uncertainties in contemporary Hong Kong), while simultaneously seeking to engage the future (Hong Kong’s futurity as a special administrative region under Chinese sovereignty after 1997).

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Kam, Tan See. "Postscript." In Tsui Hark's Peking Opera Blues. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789888208852.003.0007.

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Peking Opera Blues presents a jiegu fengjin metafiction to the 1980s Hong Kong of the film’s making and release. This is done by Tsui Hark evoking a past (Republican China), that draws on historical hindsights for allegorizing lessons of history with respect to colonial Hong Kong’s post-1997 future under the “one country, two systems” provision. While Peking Opera Blues does not have an explicit agenda for exerting pressure on the powers that be and for swaying public opinion in favor of democracy as an alternative to political China’s authoritarianism, it is nevertheless a commentary on the long, unsuccessful, march to Chinese democracy and its impact on contemporary society, most especially Hong Kong. Tsui Hark achieves this by particular forms of editing and mise en scène, and also by referencing Chinese cultural forms such as Peking opera, mandarin duck and butterfly fiction, the “three-women” films, and Canto-pop and Mandarin songs.

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Sidel, John T. "Newspapers, Rallies, Strikes." In Republicanism, Communism, Islam, 120–45. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755613.003.0006.

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This chapter focuses on the early decades of the twentieth century across the Indies, which saw major shifts in the public sphere, from experiments in fiction, publishing, and dramatic acting to unprecedented initiatives in associational activity and, in due course, revolutionary political action. It introduces the pioneering newspaperman Tirto Adhi Soerjo, who played a prominent role in the founding of the first mass movement in the Indies, the Sarekat Islam (SI), and his fellow journalist and SI activist Marco Kartodikromo. The chapter then highlights the first decades of the twentieth century, in which enterprising Europeans and Eurasian Indos, Hadhrami Arabs, and both totok and peranakan Chinese engaged in unprecedented initiatives in the realm of associational activity, founding modern schools and organizations that challenged established hierarchies of “traditional” education, authority, and identity among the small minority communities. The chapter also discusses the important consequences of reformist and revolutionary republican organizing efforts of the 1900s for the communities of the Chinese diaspora, especially in the Netherlands East Indies. Ultimately, the chapter investigates how the shift in the direction of labor mobilization, union organizing, and strike activity in the Indies in 1917–1918 coincided with developments around the world to encourage and inspire an escalation of social activism and political action by the SI in the late 1910s and early-mid 1920s.

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Xiang, Lanxin. "Fictional legitimacy." In The Quest for Legitimacy in Chinese Politics, 53–76. Routledge, 2019. http://dx.doi.org/10.4324/9780429323195-4.

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Song, Mingwei. "Liu Cixin’s Three-Body Trilogy." In Lingua Cosmica, 107–28. 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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"The Politics of Technique: Perspectives of Literary Dissidence in Contemporary Chinese Fiction." In After Mao, 159–90. BRILL, 1985. http://dx.doi.org/10.1163/9781684172498_007.

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