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Journal articles on the topic 'Political fiction, Chinese'
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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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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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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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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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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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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 (April 20, 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 committed to print. The commented edition incorporates different genres—poetry, examination essay, and anecdotal accounts—as well as visual elements, all intended to appeal to elite literati tastes among Qing readers. Its literary, visual, and formal heteroglossia also contributed to its popularity in eighteenth-century Japan, which in turn secured its preservation and eventual modern rediscovery, even while it fell into obscurity in Qing China, most likely due to political censorship.
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FLETCHER, D. M. "The good citizen as hero in Chinese fiction, 1968-76." Australian Journal of Politics & History 28, no. 2 (April 7, 2008): 266–80. http://dx.doi.org/10.1111/j.1467-8497.1982.tb00182.x.
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Lindsay, Jon R. "The Impact of China on Cybersecurity: Fiction and Friction." International Security 39, no. 3 (January 2015): 7–47. http://dx.doi.org/10.1162/isec_a_00189.
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Exaggerated fears about the paralysis of digital infrastructure and the loss of competitive advantage contribute to a spiral of mistrust in U.S.-China relations. In every category of putative Chinese cyber threat, there are also considerable Chinese vulnerabilities and Western advantages. China has inadvertently degraded the economic efficiency of its networks and exposed them to foreign infiltration by prioritizing political information control over technical cyber defense. Although China also actively infiltrates foreign targets, its ability to absorb stolen data is questionable, especially at the most competitive end of the value chain, where the United States dominates. Similarly, China's military cyber capacity cannot live up to its aggressive doctrinal aspirations, even as its efforts to guide national information technology development create vulnerabilities that more experienced U.S. cyber operators can attack. Outmatched by the West, China is resorting to a strategy of international institutional reform, but it benefits too much from multistakeholder governance to pose a credible alternative. A cyber version of the stability-instability paradox constrains the intensity of cyber interaction in the U.S.-China relationship—and in international relations more broadly—even as lesser irritants continue to proliferate.
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Yang, Lan. "The Language of Chinese Fiction of the Cultural Revolution: An Anti-dialectial Style." Copenhagen Journal of Asian Studies 15 (March 10, 2001): 114–36. http://dx.doi.org/10.22439/cjas.v15i1.2129.
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This article deals with the language style of official Chinese fiction of the Cultural Revolution (CR). It compares CR novels with previous CR novels regarding their density and distribution of dialectal words and expressions. Statistical analysis is applied and the results are tabulated. It shows a trend of decreasing dialectal elements but of increasing literary words and expressions in the CR novels. The tendency towards unification and standardization in CR fiction language indicated the aeshetic value placed at the time on literature and language. Moreover, unlike the generalization by some post-CR scholars that the popularization of Modern Standard Chinese was impeded during the CR, this analysis indicates that if the popularization of Modern Standard Chinese is reflected in the frequency of dialectal expressions in CR novels, the campaign was not 'impeded' but promoted.
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Fong, Gilbert, Liu Ts'un-yan, and John Minford. "Chinese Middlebrow Fiction. From the Ch'ing and Early Republican Eras." Pacific Affairs 58, no. 3 (1985): 522. http://dx.doi.org/10.2307/2759264.
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Li, Hua. "The environment, humankind, and slow violence in Chinese science fiction." Communication and the Public 3, no. 4 (December 2018): 270–82. http://dx.doi.org/10.1177/2057047318812971.
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This essay takes an analytical approach to examine some Chinese science fiction narratives with the themes of climate change, terraforming, and environment degradation—written from the mid-20th century to the early years of the 21st century. My broad reading of the texts treats these narratives as archive—textual sources that document a historical development of the impact of human activities on nature. On one hand, these narratives are all closely related to the country’s modernization, its economic takeoff, and the rhetoric of building a powerful China. On the other hand, they form one set of what can be understood as an emerging body of Chinese fiction located firmly within the strata and sediment of the Anthropocene. This body of literature offers a venue for explaining and exploring how economics, technological developments, and government policies have transformed the ecology, environment, and climate in the Anthropocene. These narratives also echo the concept of slow violence dubbed by Rob Nixon in 2011. These terraforming and climate narratives reveal an attritional violence of environmental degradation, climate change, and the consequential social and political problems that permeate so many of our lives. My close reading of Chen Qiufan’s novel The Waste Tide ( Huangchao, 2013) specifically portrays a slow and attritional violence—namely, the ways in which the electronics recycling industry have caused severe environmental and occupational impacts on nature and humans—through exploration of the complex relationships among technology, the economy, and the environment.
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Larsen, Kirk W. "Comforting Fictions: The Tribute System, the Westphalian Order, and Sino-Korean Relations." Journal of East Asian Studies 13, no. 2 (August 2013): 233–57. http://dx.doi.org/10.1017/s1598240800003921.
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Observers and practitioners of Sino-Korean relations in both the pre- and post-nineteenth century have utilized powerful “comforting fictions” to describe and justify power asymmetry. In the pre-nineteenth-century period, the idea of the “tribute system” put a veneer of Confucian benevolence on what a closer examination reveals to have been unequal and coercive relations. Western proponents of the Westphalian system of sovereign equality saw the new norms of international relations as potentially liberating to Korea, a way to free Korea from the Chinese yoke. However, Westphalian equality, too, was a comforting fiction that masked the reality of imperialism—both formal and informal. The Qing empire played a heretofore neglected role in both types of unequal coercive relations between Korea and the outside world.
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Liu, Xinmin. "‘Place’ Construction: innovative reworking of fiction in recent Chinese films." Journal of Contemporary China 17, no. 57 (October 29, 2008): 699–716. http://dx.doi.org/10.1080/10670560802253428.
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He, Wang, and Wen Jin. "Hesitant Empathy: Sun Baoxuan's Diary and Approaches to Reading Fiction in Late Qing China." PMLA/Publications of the Modern Language Association of America 134, no. 1 (January 2019): 164–71. http://dx.doi.org/10.1632/pmla.2019.134.1.164.
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ON THE TWENTY-FIFTH DAY OF THE FIFTH MONTH OF 1903, SUN BAOXUAN—A SCHOLAR-OFFICIAL IN LATE QING DYNASTY CHINA—documented in his diary that he had acquired a copy of the periodical 新小說 (Xin xiaoshuo; “he New Novel”), founded by Liang Qichao in 1902 to propagate translated fiction and new Chinese fiction. Immediately drawn to the stories and novels it carried, Sun soon concluded that Western fiction had the unique strength of imparting knowledge and expanding rational capacity: 「觀西人政治 小說，可以悟政治原理；觀科學小說，可以通種種格物原理；觀包 探小說，可以覘西國人情土俗及其居心之險詐詭變，有非我國所 能及者」 (“Political novels teach us principles of politics; scientific novels teach us theories of things; detective novels show us Western customs and treachery, which often surpass ours”; 690). Immersed in a culture where vernacular novels had been suppressed by official censorship and prejudice among the elites, Sun ardently embraced translated fiction. By contrast, vernacular Chinese novels, with few exceptions, seemed to him routinely 「陳腐」 (“decadent”), providing no more than 「排遣」 (“diversion and entertainment”; 677, 690) The perceived rationality of Western fiction gave him a sudden license to seriously engage with a genre that the literary culture in China continued to exclude well into the twentieth century. Sun's encounter with foreign fiction marked the early stage of a somewhat bumpy adventure. In later sections of the diary, Sun documents reading sentimental strains of translated fiction and the more ambiguous responses they incited in him.
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Torrance, Ronald. "Kristin Stapleton (2016). Fact in Fiction: 1920s China and Ba Jin’s Family." British Journal of Chinese Studies 8, no. 2 (March 1, 2019): 156–60. http://dx.doi.org/10.51661/bjocs.v8i2.5.
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There are few resources amongst contemporary Chinese literary criticism that manage to weave such insightful literary readings and incisive historical research as Kristin Stapleton’s Fact in Fiction: 1920s China and Ba Jin’s Family. The book accomplishes three feats, as set out by Stapleton in her introductory chapter, simultaneously incorporating a history of twentieth-century Chengdu (and its relevance to the developments in China during this period, more broadly) alongside the author’s biography of Ba Jin’s formative years in the city and the historiographical context of his novel Family. Such an undertaking by a less skilled author would have, perhaps, produced a work which simplifies the rich historical underpinnings of Ba Jin’s Family to supplementary readings of the novel, coupled with incidental evidence of the political and social machinations of the city in which its author grew up. Not so under Stapleton’s careful guidance. By reading the social and economic development of early twentieth-century Chengdu as much as its fictional counterpart in Ba Jin’s Turbulent Stream trilogy, Stapleton provides a perceptive reading of Family which invites the reader to consider how fiction can enrich and enliven our understanding of history.
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Edwards, Louise. "The New Woman in Early Twentieth-Century Chinese Fiction. Jin Feng." China Journal 55 (January 2006): 203–5. http://dx.doi.org/10.2307/20066157.
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Kinkley, Jeffrey C. "The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]." China Quarterly 182 (June 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.
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This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.
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Dyson, Stephen Benedict. "Images of International Politics in Chinese Science Fiction: Liu Cixin’s Three-Body Problem." New Political Science 41, no. 3 (July 3, 2019): 459–75. http://dx.doi.org/10.1080/07393148.2019.1636567.
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Liu, Shi. "Cultural connotations of the image of perception of emigrants in Chinese ethnic consciousness of the 20-40s of the 20th century based on the material of Chinese literature and publicism." RUDN Journal of Studies in Literature and Journalism 25, no. 4 (December 15, 2020): 671–81. http://dx.doi.org/10.22363/2312-9220-2020-25-4-671-681.
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The relevance of the study is determined by the interest of modern humanitarian knowledge in the study of the image of the alien, the study of the mechanisms of reception of the foreign and other ethnic world in the process of interethnic and intercultural interaction of the 20th century. The novelty is due to the involvement of the material of journalistic and artistic texts of the Chinese authors of the left and right wing in their correlation with the historical, political and linguocultural realities of the 20-40s of the 20th century. The research problem consists in the correlation of ethnocultural, ethnopsychological and socio-political connotations of the image of the perception of an emigrant in the Chinese ethnic consciousness. The aim of the research is to study the lexical and semantic transformations of the concept of emigrant in the context of Chinese ideology and Chinese literature of the 20-40s of the 20th century, as well as to identify the individual features of the artistic perception of an emigrant by Chinese writers. The research methodology is based on an imagological approach to the study of literature with the involvement of ethnopsychological observations. The work uses historical-literary, comparative-historical, lexical-semantic methods, as well as techniques of translation studies. It is discovered that in the Chinese fiction and journalistic texts of the 20-40s of the 20th century the negative artistic image of the perception of emigrants - white emigrants prevails. Thus, in the Chinese ethnic consciousness of the 1920s and 1940s, the cultural connotation of the concept of emigrant had negative semantics. On the one hand, it reflects the real situation of emigrant life and emigrant consciousness; on the other hand, it captures the complex socio-political and ethno psychological processes that have taken place in Chinese society, affecting the foundation of Chinese culture and Chinese ethnicity.
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FOKKEMA, DOUWE. "Focus: China, tradition and modernity Introduction." European Review 11, no. 2 (May 2003): 163–69. http://dx.doi.org/10.1017/s1062798703000176.
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This Introduction was written in November 2002, when the 16th Congress of the Chinese Communist Party was being held where more than 2000 delegates (representing 66 million Party members) decided on future policies and changes in the leadership. The way these decisions were prepared and endorsed reminds us how China differs from Western democracies. However, apart from the political structures, to what extent is China different?The following five essays, all written by Chinese scholars, allow us a glimpse into contemporary Chinese culture through informative reports on philosophy, cultural studies, fiction, gender construction and women's poetry, and traditional Chinese medicine. Of course, these articles are far from covering all aspects, or even all major aspects, of Chinese culture, yet they offer us views of specific areas by experts who, from their insiders' vantage points, lead us into the heart of the intellectual debate in contemporary China.Although the authors of these essays, with few exceptions, hesitate to generalize on present conditions and possible future scenarios, their arguments have something in common and suggest, perhaps unknowingly, important clues for understanding Chinese culture. When reading these essays, I am struck by the following, recurrent aspects.
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Moon, Jina. "‘Was Ever Treason so Unnatural?’: Phallic Mothers and Propaganda in Two Plays by William Hatchett." New Theatre Quarterly 34, no. 4 (October 8, 2018): 383–94. http://dx.doi.org/10.1017/s0266464x18000441.
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By examining William Hatchett's The Chinese Orphan alongside The Fall of Mortimer, in this article Jina Moon aims to expand our critical awareness of Hatchett's oeuvre and to deepen our understanding of the shifting contours of misogyny as an integral component of eighteenth-century political discourse. The Fall of Mortimer differs from other sources of anti-Walpole propaganda, offering pointedly acrimonious treatment not only of Walpole, but of Queen Caroline. The Chinese Orphan was published in February 1741, two months before the election of that year dealt the final blow to Walpole's career. The play reflects shifting attitudes towards women in power and the contemporary tendency to contrast the ambitious and political Caroline with submissive and domestic Princess Augusta. To examine Hatchett's work is to gain new insight into the ways in which authors adapted both to the restrictions of the Licensing Act and to the shifting political climate of the 1740s. Jina Moon received her Ph.D. in English from the University of Tulsa (2015). Her study of Domestic Violence in Victorian and Edwardian Fiction appeared from Cambridge Scholars Publishing in 2016.
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Zheng, Huili. "Enchanted Encounter: Gender Politics, Cultural Identity, and Wang Tao’s (1828–97) Fictional Sino-Western Romance." Nan Nü 16, no. 2 (December 16, 2014): 274–307. http://dx.doi.org/10.1163/15685268-00162p03.
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Wang Tao (1828–97) was a late Qing translator, political commentator, and fiction writer who spent time in England, France and Scotland, and served as an important literary link between China and the West. In examining Wang’s tales of Sino-Western encounters and drawing from the long literary tradition of depicting foreign “Others,” this paper shows that Wang’s image of the West in his literary tales is ambivalent. Further, it argues that Wang’s gender positioning of the Chinese “Self” and Western “Other” is rather ambiguous. By interpreting his representation of the West against his immediate historical context (e.g., a China facing unprecedented political and cultural challenges), this study investigates Wang’s use of various rhetorical strategies from an existing discourse on foreign “Others” (particularly the theme of “foreign woman marrying Chinese man”) to appropriate, domesticate and even contain the West. It also shows how Wang complicates and even subverts these older rhetorical strategies as a way to cope with the new historical reality.
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Tian, Xi. "Homosexualizing “Boys Love” in China." Prism 17, no. 1 (March 1, 2020): 104–26. http://dx.doi.org/10.1215/25783491-8163817.
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Abstract Originating in Japan, “boys love” (BL) manga and fiction that focus on romantic or homoerotic male-male relationships are considered by most of their writers, readers, and scholars to be primarily by women and for women and are purposely differentiated from gay fiction and manga by both commentators and practitioners. However, BL's increasing interweaving with homosexuality and sexual minorities in China requires scholars to reread and redefine BL practice in its Chinese context. This article discusses some of the recent transformations of the BL genre in China, examines the significant role female practitioners have played in indigenizing BL, and ultimately points to the trend of consciously writing and reading BL through a homosexual lens. By reflexively constructing “gayness” in BL works, these practices have also created a peer-led educational space on nonnormative sexuality and gender identity. The author also examines how BL “poaches” official and mainstream cultures, resulting in their considering BL the primary fictional vehicle of homosexuality. She therefore suggests that the trend of conflating BL with homosexuality and the deliberate homosexualization of BL in both texts and real life have ultimately extended the cultural identity of BL, as well as its political meaning, and in practice have created a porous culture that welcomes gender diversity and helps increase the visibility of the gay community, revealing a significant social and cultural shift that cannot be ignored or reversed.
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Chan, Alfred L., and Andrew J. Nathan. "The Tiananmen Papers Revisited." China Quarterly 177 (March 2004): 190–214. http://dx.doi.org/10.1017/s0305741004000116.
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Authentic Chinese internal documents matter greatly as historical records that illuminate our understanding of Chinese politics. Yet careful scrutiny shows that the Chinese book version of the Tiananmen Papers is part fiction and part documentary history based on open and semi-open sources and document collections. The alleged transcripts of top-level meetings are basically stitched together ex post facto (even by the admission of the editors) and then presented as secret documents. Furthermore, the English translation is a heavily retouched version of the Chinese with differences in claims of authenticity, translation, citation and style. There is little evidence that any real secret documents are in the hands of the Chinese author, and even if they were, the two books under consideration are really secondary sources steps removed from the originals. The editors strongly vouch for the authenticity of these two books, but their efforts are inadequate and unconvincing.
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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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Fuehrer, Bernhard. "The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]." China Quarterly 178 (June 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.
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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.
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Roberts, Rosemary A. "Images of Women in the Fiction of Zhang Jie and Zhang Xinxin." China Quarterly 120 (December 1989): 800–813. http://dx.doi.org/10.1017/s0305741000018476.
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Zhang Xinxin and Zhang Jie are two contemporary Chinese women writers. They began to publish in the post–Cultural Revolution era, and became well–known in the early 1980s for their fictional depiction of the problems of urban intellectual women attempting to resolve conflicts between love and career, love and marriage, and ideals and reality. Although the works of both authors present a limited challenge to traditions they believe have served to oppress women, a clear generational difference is perceptible in the attitudes they each express through their characters. Zhang Jie, born in 1937 and reaching adulthood in the idealistic climate of the 1950s, presents characters strongly influenced by both Confucian morality and socialist ideals, while Zhang Xinxin, who was born in 1953 and grew up during the Cultural Revolution period (a disillusioning experience for most of her generation), presents characters who show little enthusiasm for political ideals and are less constrained by traditional morality.
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Raposo, Vera Lucia. "Can China’s ‘standard of care’ for COVID-19 be replicated in Europe?" Journal of Medical Ethics 46, no. 7 (May 18, 2020): 451–54. http://dx.doi.org/10.1136/medethics-2020-106210.
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The Director-General of the WHO has suggested that China’s approach to the COVID-19 crisis could be the standard of care for global epidemics. However, as remarkable as the Chinese strategy might be, it cannot be replicated in other countries and certainly not in Europe. In Europe, there is a distribution of power between the European Union and its member states. In contrast, China’s political power is concentrated in the central government. This enables it to take immediate measures that affect the entire country, such as massive quarantines or closing borders. Moreover, the Chinese legal framework includes restrictions on privacy and other human rights that are unknown in Europe. In addition, China has the technological power to easily impose such restrictions. In most European countries, that would be science fiction. These conditions have enabled China to combat epidemics like no other country can. However, the WHO might have been overoptimistic. The Chinese standard of care for treating COVID-19 also raises problematic issues for human rights, and the real consequences of these actions remain to be seen.
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Shen, Yichin. "Womanhood and sexual relations in contemporary chinese fiction by male and female authors: A comparative analysis." Feminist Issues 12, no. 1 (March 1992): 47–68. http://dx.doi.org/10.1007/bf02685671.
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Hedberg, William C. "Translation, Colonization, and the Fall of Utopia: The Qing Decline as Explained through Chinese Fiction." Japanese Language and Literature 54, no. 1 (March 30, 2020): 115–35. http://dx.doi.org/10.5195/jll.2020.79.
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This study focuses on Meiji-period Japanese engagement with the late imperial Chinese novel Sequel to ‘The Water Margin’ (Shuihu houzhuan): an early Qing continuation of the classic Water Margin that focuses on the Liangshan outlaws’ colonization of a mythical “Siam” in the wake of the fall of the Northern Song dynasty. Like its parent work, Shuihu houzhuan found an enthusiastic readership beyond the borders of China. The novel was translated into Japanese several times during the Meiji period: most famously, by the poet and scholar Mori Kainan, whose translation was published by the Tokyo-based Kōin shinshisha publishing house between 1893 and 1895. In addition to the fact that Japan itself appears as a setting in the novel, I argue that Meiji-period interest in Shuihu houzhuan was related to its radically new mode of representing the central characters, who were transformed from rebellious bandits in the original Water Margin into civilized colonizers responsible for protecting and transplanting a reified Chinese essence on an international stage. This interest in expansion and colonization took on new significance against the backdrop of the First Sino-Japanese War, which bisected the publication of the translation and was explicitly addressed in both Mori’s commentary to the novel and the publishers’ marketing of the translation itself. In the context of the shifting relationship between Meiji-period Japan and Qing-period China, “Siam” is ultimately divested of its symbolic significance as a refuge from dynastic crisis and reconstituted as an unintentional trope for the complex linguistic, cultural, and political negotiation underlying Mori’s translation.
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Jayawickrama, Sharanya. "Metonymic Figures: Cultural Representations of Foreign Domestic Helpers and Discourses of Diversity in Hong Kong." Cultural Diversity in China 3, no. 1 (June 26, 2018): 1–16. http://dx.doi.org/10.1515/cdc-2017-0006.
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Abstract Foreign Domestic Helpers account for nearly half of Hong Kong’s total ethnic minority population and are therefore integral to any discussion of diversity in the postcolonial, global Chinese city. In Asia, discourses of diversity have evolved from the juncture of complex historical, political, and cultural factors including colonialism, postcoloniality, traditional and precolonial customs and values, religious and spiritual beliefs, as well as Western-derived liberal-democratic discourses of rights and citizenship. “Diversity” has been identified as one of the core values and attributes of the territory by the Hong Kong Government yet it is not a concept that is carefully interrogated and delineated. This essay examines discourses of diversity via analysis of a varied set of cultural representations of Foreign Domestic Helpers, including a television programme and advertisements, a work of short literary fiction, online erotic fiction, social media, as well as an example of multi-media artwork. Taken together, these representative forms provide insight into the cultural imaginary that shapes private and public discourse and perception. Using an approach informed by both cognitive linguistics and postcolonial studies, the essay focuses on metonymic techniques, for example, doubling and substitution to argue that representations of Foreign Domestic Helpers reveal the anxieties, fears, and desires of the dominant culture. The essay shows that the Foreign Domestic Helper becomes a critical figure around whom linked questions of ethnicity, gender, sexuality, and class in the majority ethnic Chinese population of Hong Kong circulate.
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Krylova, M. N. "THE FATE OF SIBERIA IN MODERN RUSSIAN ANTI-UTOPIAN BOOK." Bulletin of Udmurt University. Series History and Philology 29, no. 6 (December 25, 2019): 1057–62. http://dx.doi.org/10.35634/2412-9534-2019-29-6-1057-1062.
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The article analyzes how the modern science fiction (the genres of anti-utopia and post-apocalypse) interprets the image of Siberia and predicts the fate of Siberia. In studied works of literature an attention is paid to such real features of this region as geographical distance from the center, low population, low development of the territory, the relativity of civilizational penetration into remote areas of Siberia, poor climate. The geographical proximity to China and the presence of a significant amount of Chinese immigrants in current Siberia are the basis of assumptions of writers about the Chinese expansion. Geographical remoteness from the center encourages to fantasize about the separation of Siberia into a special state. Positive predictions of Siberia development in the case of global cataclysms prevail: the writers suggest that the climate of Siberia will improve, that the geographical remoteness from Europe will save Siberia from negative technological and political exposures. Belief in the power of Siberia prevails in the fantastic assumptions of modern Russian writers.
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Lancashire, Edel. "The Lock of the Heart Controversy in Taiwan, 1962–63: A Question of Artistic Freedom and a Writer's Social Responsibility." China Quarterly 103 (September 1985): 462–88. http://dx.doi.org/10.1017/s030574100003071x.
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The early 1960s marked a period of intellectual and literary ferment in Taiwan. The East-West Controversy, which had its roots in the debate that took place in the middle of the last century regarding the continued validity of the Chinese tradition in the face of western military and economic superiority and in the controversy regarding westernization as the road to modernization in the 1930s, had broken out afresh. Creative writers, musicians and painters were experimenting with new forms and new techniques. As early as 1954 the writers of modern Chinese poetry had started the search for a more contemporary expression of their art form; and modern poetry societies, each with its own philosophy on how modernization should take place, had come into being. Writers of fiction who up till then had been almost exclusively concerned with the Sino-Japanese War; the mainland before the communist takeover in 1949, or the various aspects of the struggle against communism, were moving away from this kind of “propaganda-motivated writing” towards the production of “pure literature.” However, there were few modern Chinese creative writers of stature on whom either the poet or fiction writer could model himself. This was because of the ban imposed by the government in Taiwan on the works of writers prior to 1949 due to the association of many of them with communism or with ideologies unacceptable to the authorities. This meant that they had to seek for inspiration in the works of western writers which could be found in translation or in pirated versions of the original texts in the major cities of Taiwan. The traditionalists viewed this growing trend with alarm as did those writers who were closely associated with the Kuomintang. The latter had formed themselves during the early 1950s into three writers' associations, the China Association of Literature and Art, the Chinese Youth Writers' Association, and the Taiwan Women Writers' Association.
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Mao, Peijie. "The Cultural Imaginary of “Middle Society” in Early Republican Shanghai." Modern China 44, no. 6 (April 13, 2018): 620–51. http://dx.doi.org/10.1177/0097700418766827.
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This article explores the cultural imaginary of “middle society” in China through popular writings of the early twentieth century. It pays particular attention to popular print media in early Republican Shanghai, which played a central role in constructing a middle-class cultural identity by offering new sources for imagination and for the configuration of urban modernity. I suggest that the popular imagination of the Chinese middle class can be traced back to the discourse of “middle society,” “utopian stories,” and “industrial fiction” in the 1910s and 1920s. This imaginary of middle society was defined and supported by a broad range of cultural expressions in popular media. It revealed both the social anxiety and tensions brought about by the socioeconomic transformations in early twentieth-century China and the middle-class “cultural dreams” of Chinese society and modern life.
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Simpson, Tim. "Scintillant Cities: Glass Architecture, Finance Capital, and the Fictions of Macau’s Enclave Urbanism." Theory, Culture & Society 30, no. 7-8 (October 10, 2013): 343–71. http://dx.doi.org/10.1177/0263276413504970.
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This article analyzes articulations among urban enclaves, finance capital, and glass architecture by exploring MGM’s corporate investments in the Las Vegas CityCenter development and the Chinese enclave of Macau. CityCenter is an unsuccessful $9 billion master-planned urban community financed by MGM and Dubai World. Macau is a former Portuguese colony and Special Administrative Region of the People’s Republic of China which has, since its return to the PRC in 1999, replaced Las Vegas as the world’s most lucrative site of casino gaming revenue. Taken together, CityCenter and Macau are illustrative of the political economy and cultural logics of financialization. Foreign investment from Las Vegas entrepreneurs has vitrified Macau, transforming it into a phantasmagoria of glass resorts. Macau in turn plays a crucial functional role in capitalism’s recomposition in East Asia, similar to the autochthonous role of the Italian city-states of Venice and Genoa in the historical origins of capitalism. In order to ‘read’ the cities of Las Vegas and Macau, I explore intertextual legibilities among fictitious capital that relies on glass fiber-optic technology to enable grand architectural projects; expressionist fictional representations of glass architecture and its utopian transformative potential; and glass buildings that themselves dissimulate in a manner not unlike fiction.
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Feng, Jin. "Revolution Plus Love: Literary History, Women's Bodies, and Thematic Repetition in Twentieth-Century Chinese Fiction. Liu Jianmei." China Journal 53 (January 2005): 203–5. http://dx.doi.org/10.2307/20066026.
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WOOD, SALLY PERCIVAL. "‘CHOU GAGS CRITICS IN BANDOENG’ or How the Media Framed Premier Zhou Enlai at the Bandung Conference, 1955." Modern Asian Studies 44, no. 5 (November 30, 2009): 1001–27. http://dx.doi.org/10.1017/s0026749x09990382.
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AbstractAt the Asian-African Conference at Bandung, Indonesia, in April 1955, the world's press concentrated its gaze on Premier Zhou Enlai of the People's Republic of China. Premier Zhou's every gesture, interaction and statement was scrutinized for evidence that his motivations at Bandung were antagonistic to Western interests. This preoccupation with the motivations of the Chinese was, however, no new phenomenon. By 1955, literary tropes of the ‘Yellow Peril’ had been firmly established in the Western imagination and, after 1949, almost seamlessly made their transition into fears of infiltrating communist Chinese ‘Reds’.The first half of this paper explores the historical roots of the West's perceptions of the Chinese, through the literary works of Daniel Defoe to the pulp fiction of Sax Rohmer's Dr Fu Manchu series, which ran from 1917 to 1959. It then examines how this negative template was mobilised by the print media at the height of the Cold War to characterize Premier Zhou Enlai, not only as untrustworthy, but also as antagonistically anti-Western. This reading of representations of Premier Zhou at Bandung, as well as the literary tropes propagated in support of eighteenth and nineteenth-century imperial expansion, exposes a history of Western (mis)interpretations of China, and sheds light upon the media network's role in constructing a Chinese enemy in the mid-1950s.
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Yung, Faye Dorcas. "The Silencing of Children's Literature Publishing in Hong Kong." International Research in Children's Literature 13, Supplement (July 2020): 159–74. http://dx.doi.org/10.3366/ircl.2020.0344.
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Children's literature publishing in Hong Kong is supposed to enjoy the freedom of a free market economy and legal autonomy. However, the market structure and the titles available in the market dominated by imported titles reveal that children's books published in Hong Kong have little room to feature the local voice. The market conditions are tough and publishers are incentivised to publish for the larger Sinosphere market. As a result, Cantonese is absent in imported texts annotated with either Mandarin phonetics ruby characters in Hanyu Pinyin or Zhuyin symbols. Non-fiction picturebooks feature a version of history that is biased towards the Chinese Communist Party political rhetoric. Hong Kong subjectivity thus struggles to find space to be represented; usually it is found in publications by smaller independent publishers.
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Chung, Hilary. "Lost Voices of Modernity: A Chinese Popular Fiction Magazine in Context. By Denise Gimpel. [Honolulu: University of Hawai‘i Press, 2001. xi+322 pp. $27.95. ISBN 0-8248-2279-X.]." China Quarterly 172 (December 2002): 1065–103. http://dx.doi.org/10.1017/s0009443902410625.
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There is a growing recognition of the way in which the agenda of Western scholarship on China, particularly on 20th-century China, has been shaped or influenced by what we might identify as a Chinese agenda of political correctness. The neglect of the first 11 years of publication of the Short Story Magazine (Xiaoshuo yuebao) (1910–1921), and its dismissal as simply purveying superficial popular entertainment, is a case in point.
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Xie, Jerry. "Cages and Class Struggle: A Leninist Inquiry into the Caricature of Marxism in Fenggang Yang’s ‘Soul Searching’." Critical Sociology 44, no. 1 (August 4, 2016): 173–87. http://dx.doi.org/10.1177/0896920516654556.
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The sociologist of religion Fenggang Yang has recently extended his ‘markets of religion’ framework to the spiritual ‘soul searching’ in contemporary literature. In his epilogue to Angelica Duran and Yuhan Huang’s Mo Yan in Context (2014), an anthology of interdisciplinary interpretations of Mo Yan’s ‘hallucinatory realist’ fiction, Yang claims that ‘Chinese souls’ have been ‘caged’ by, among other things, ‘Marxist-Leninist-Maoist atheism’. He refers to the Marxist theory of religion as merely ‘the Marxist adage’ that religion is ‘the opiate of the people’. This essay analyzes Yang’s ‘cage’ concept, to ‘work against it both from without and within’, as Lenin says. In doing so, I argue that Yang’s ‘soul searching’ epilogue is a highly concentrated text of bourgeois ideological mystification and is, therefore, a productive site for Marxist oppositional pedagogy which contests the imagism of ‘cages’ with the materialist dialectics of class struggle.
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Hegel, Robert E. "A Plain History of the Chronicles of the Three Kingdoms." East Asian Publishing and Society 9, no. 2 (October 29, 2019): 99–124. http://dx.doi.org/10.1163/22106286-12341332.
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Abstract Through six centuries of commercial activity, cultural identification, wartime pillage, and scholarly scrutiny, the Sanguo zhi pinghua 三國志平話 (Plain Tale on The Chronicles of the Three Kingdoms), a work of popular historical fiction, survived to be reprinted for scholarly study around 1930. But this title and others from an original 1320s series continue to exist only because of a shared dedication to the study of books and through the collaboration of generations of Chinese, Japanese, and probably Korean merchants, teachers, editors, scholars, and bibliographers. This essay traces the tortuous path followed by this thin book through time, wars, and personal passions to reveal the generosity of scholars in making this title and its historical significance known today. As with cultural matters at other times and places, this path was regularly overshadowed by political and commercial interests.
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Wang, Yuanfei. "Java in Discord." positions: asia critique 27, no. 4 (November 1, 2019): 623–52. http://dx.doi.org/10.1215/10679847-7726916.
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In the late sixteenth century, thriving private maritime trade brought forth maritime trouble to the late Ming state. In times of rampant “Japanese” piracy and Hideyoshi’s invasion of Korea, Chinese literati composed unofficial histories and vernacular fiction on China’s foreign relations. Among them, Yan Congjian 嚴從簡 wrote Shuyu zhouzi lu 殊域周咨錄 (Records of Surrounding Strange Realms) (1574), He Qiaoyuan 何喬遠 compiled Wang Xiangji 王享記 (Records of the Emperors’ Tributes) (1597–1620), Luo Yuejiong 羅曰褧 penned Xianbin lu 咸賓錄 (Records of Tributary Guests) (1597), and Luo Maodeng 羅懋登 composed a vernacular novel Sanbao taijian xiyangji tongsu yanyi 三寶太監西洋記通俗演義 (Vernacular Romance of Eunuch Sanbao’s Voyages on the Indian Ocean) (1598). This article examines how the imminent maritime realities reminded the late Ming authors of one cross-border war and two genocides in Java and Sanfoqi during Yuan and early and mid-Ming times. These transgressions that violated Chinese official tributary order became memorable and made Sino-Java relations a definite point of comparison for the late Ming maritime piracy problems. This article argues that the cultural memory of Sino-Java military and diplomatic exchange enabled the authors to lament and condemn the executed pirates Wang Zhi and Chen Zuyi. The four authors imbue their narratives with personal anxieties and nationalistic sentiments. While the historical narratives tend to moralize and idealize China’s tributary world order, the vernacular fiction paints a more realistic picture of the late Ming state by involving heterogeneous voices of the “other.” Collectively, the four narratives represent various images of the Ming Empire, revealing the authors’ deep apprehension of the Mings’ identity, their political criticism of the state, and their divergent and even self-conflicted views toward maritime commerce, immigrants, and people of different races.
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Tanner, Harold M. "The Great Wall of Confinement: The Chinese Prison Camp through Contemporary Fiction and Reportage. Philip F. Williams , Yenna Wu." China Journal 53 (January 2005): 250–52. http://dx.doi.org/10.2307/20066049.
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Starr, Chloë. "C. T. Hsia on Chinese Literature. By C. T. Hsia. [New York: Columbia University Press, 2004. 544 pp. £26.50. ISBN 0-231-12990-4.]." China Quarterly 179 (September 2004): 825–27. http://dx.doi.org/10.1017/s0305741004300603.
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First impressions matter when buying a book; they are less important when chasing up a reference in a library or following a reading list to a book shop. C.T. Hsia on Chinese Literature is a serious tome which looks like a biography – a bust portrait of the octogenarian author smiles out of a stark black and white dust jacket, and the playful title leaves ambiguous whether it is C. T. Hsia or his thoughts we are buying. One of the delights of reputation and seniority is the publication of a lifetime's collected essays. This produces a gift to the reader which takes its rightful place as a history of criticism as well as literary criticism, gathering 16 essays published between 1962 (in The China Quarterly) and 1990, a volume for celebration. As undergraduates of modern Chinese literature, we used to groan when C. T. Hsia appeared on reading lists, as much because the works containing the essays were dog-eared, smelly old volumes, as for their polemicism. Publication in a smart, single volume presents easy access and allows the essays to be contemplated for their merit and range. Since C. T. Hsia has been considered, as Patrick Hanan writes, “without question the most influential critic of Chinese fiction since the 1960s,” his essays remain important reading matter.
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Zhang, Ling. "Foreshadowing the Future of Capitalism: Surveillance Technology and Digital Realism in Xu Bing’s Dragonfly Eyes." Comparative Cinema 8, no. 14 (May 22, 2020): 62–81. http://dx.doi.org/10.31009/cc.2020.v8.i14.05.
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How has the development of surveillance technology and its normalized intervention into our social structures and daily lives impact our imagination of the future? Does the “total view” of the intense yet impassive gaze of surveillance cameras, combined with the mediated intimacy of social media videos, foreshadow deeper social alienation or the fulfillment of individual desire? In order to address such questions, I take the Chinese artist Xu Bing and his team’s film Dragonfly Eyes (Qingting zhi yan, 2017) and its surrounding media culture as a case study to demonstrate how surveillance footage and various modes of cinematic ontology, digital realism, and temporality work in a contemporary socio-political-medial context. Composed by Xu and a group of collaborators, Dragonfly Eyes is the only existing feature-length fiction film constructed completely from surveillance footage. As a highly reflexive film, Dragonfly epitomizes and embodies the precarious potentials of the digital future of capitalism, both invigorating and bleak, expressive and corrupt.