Contemporary Chinese Literature

Китайская поэтическая традиция в исторической перспективе представляет собой настолько замкнутую, изолированную от внешней среды систему, что существование поэта «в пограничной зоне» двух культурных полей, в качестве одного из которых выступает китайская традиция, оказывается проблематичным. Билингвизм в современной китайской поэзии, несмотря на несравненно большую открытость поэта другим культурам, оказывается возможен прежде всего в формате взаимодействия с «периферийной» литературой – на языке «малых народов» или на тополекте. Тем интереснее рассмотреть феномен билингвизма поэта, чьё творчество (языками которого служат китайский и английский) объединяет две масштабные традиции поэзии, вторая из которых не замкнута на сам Китай, а существует абсолютно независимо.
Обширный материал для подобного рассмотрения даёт творчество австрало-китайского поэта Оуян Юя (Ouyang Yu 欧阳昱), который к настоящему моменту является автором 75 сборников поэзии, прозы, эссе, переводов и литературной критики на английском и китайском языках. Оуян Юй с пониманием пишет о дилеммах транснациональных художников и интеллектуалов, оказавшихся между различными литературными, культурными и языковыми традициями. Его грубый, бескомпромиссный стиль (по словам одного критика, «преднамеренная некрасивость» языка) не только бросает вызов литературному и социальному истеблишменту, но и служит средством мужественных самоанализа и самокритики. Обращающий на себя внимание въедливым, ироничным исследованием австралийской культурной (и мультикультурной) идентичности, Оуян Юй также признан как поэт, тонко владеющий поэтической техникой.
При выстраивании своей мультикультурной идентичности поэт использует несколько стратегий. Это, во-первых, смешение двух языков в рамках художественного пространства одного произведения, вплоть до их смешения внутри одной языковой единицы. Во-вторых, широкий пласт языковой игры «на границе» между двумя языками – через введение в ткань произведения на одном языке единиц другого языка, которые будут осознаваться как чуждые, часто непонятные знаки, нуждающиеся в пояснении их поэтом. В-третьих, попытка «сойти за своего» в поле каждой из соответствующих культур – через использование фразеологии, аллюзий, цитаций, которые укореняют автора текста в пространстве коллективной памяти народа.

本文旨在探討新加坡 2013 年新版《中學華文文學》「現當代小說」的選文情形。研究目的：一、分析新加坡 2013 年新版《中學華文文學》「現當代小說」的選文內容，二、探討新加坡 2013 年新版《中學華文文學》「現當代小說」的選文特色，三、調查新加坡華文教師對《中學華文文學》「現當代小說」的選文意見。本研究透過分析「新加坡中學華文文學課程標準」的基礎上，試圖在更細緻的層面上，瞭解教科書中文學作品的選篇情形。研究方法：以文獻分析法探討《課標 2013》的相關規定；以文本分析法分析 2013 年新版《中學華文文學》的選文內容；以比較法探討演進中的新加坡《中學華文文學》的選篇變化，期能看出 2013 年新版《中學華文文學》的選文特色；最後以問卷調查法了解新加坡一線教師對「現當代小說」的選文意見。研究結果：新版《中學華文文學》的八篇現當代小說選文顯現了東亞身份認同的發展路向，但該教材仍缺乏對在新加坡島上其他語種英語、馬來語和淡米爾語等文學作品和世界性華文文學的關注。本文建議：在全球化沖擊、多元文化影響的當下，國際華語文教育的文學課程應提升至跨越歷史、超越時空的全球文化視野，教材應選取不同區域、不同國度的文化經典作品，尊重各地區域文化的傳統，注重人類歷史文化的傳承，為不同文化背景的學生搭建一個文化共用的平臺，才能實現對多元文化的包容。如今全球文化教育的熱潮已重新定義世界公民意識和素質，教材的編寫如何體現全球文化的發展趨勢，如何增強課程內容對多元文化的適切性，應受到國際華語教育的重視。

都市作家強調小說「空間」書寫的重要性，更有學者認為「都市文學」本身就是以「空間」為定義的文類。本書旨在通過閱讀黃凡、林燿德、朱天文、朱天心的作品，分析臺灣都市文學的特點，並論述小說的空間理論。本書擬回應晚近小說創作及文學思潮的轉變，配合敘事學、形式主義文論、哲學和心理學方面的身體論述，以及都市研究等相關理論，對小說空間作全面探討。作者嘗試在理論和文本分析之間取得平衡，在臺灣都市小說的分析以外，空間論述能推展到其他文本的實踐。

導言

第一章  空間與文本形式
一、空間、形式與文本層次
二、空間與起結
三、再評空間形式：文本空間與敘述空間
四、敘述空間與小說體裁：以後設小說為中心

第二章  身體與空間
一、身體與空間的辯證關係
二、「聚焦身體」
三、衰弱身體與都市空間

第三章  城鄉空間
一、城鄉對立，與敘述空間的參照性
二、都市小說的城市與鄉村
三、他處空間

第四章  室內空間
一、建築空間的情節編碼
二、家：溫暖與不安
三、辦公室、學校：權力的網絡
四、浴室、電梯：私密與等待

第五章  物件與空間
一、從手持道具、裝飾道具與大道具說起
二、物件的四條定義軸線
三、小說物件與消費場域
四、物件與作家想像：香煙、面具、服飾與舊物

結語

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This is a Hungarian translation of Lü Jiamin's (呂嘉民, aka. Jiang Rong 姜戎) study he attached to his famous but much criticized bestseller the 'Wolf Totem' (狼图腾). The study reveals the motifs of the author and presents his semi-scientific historical hypothesis on Chinese ethnogenesis.

《新青年》雜誌所揭櫫的「文學革命」，可說是中國現代文學的起點。本文將藉由社會學家Pierre Bourdieu的概念，關注於當時文學場域中的結構性條件，以及五四知識分子為了推動、建構「文學革命」，而採取的象徵鬥爭手段。本文主要思考四個面向：（1）《新青年》作者們透過重新詮釋文學史，促成傳統漢學的貶值，並將知識上的合法性賦予白話文學運動。（2）《新青年》意識到，新興的知識分子即將取代傳統士大夫階層，因此他們策略性地去聲明「現代」與「傳統」的對比。（3）民族國家需要「國語」，因而對於採用「白話文」的「文學革命」而言，近代中國的民族國家化為其提供了有利的背景。（4）《新青年》作者強調文學與學術的獨立性格，這使得「自主」的現代文學體制得以成立。簡而言之，五四知識分子們一方面對於自身進行策略性的「自我定義」，另一方面發起爭論、博取輿論，進而重組了文學場域，也確定了「現代文學」的邊界或構成。

Literary representations of the Other, regardless of place or time of origin, adopt similar strategies emphasizing the difference between the Other and Self, and are recognized as symbolic expressions of supposed superiority of Self over the Other, thus serving to legitimize any actual attempts to civilize or rule the Other. Such strategies that have often been applied by the West to describe the uneven East-West relations in the colonial literary discourse can be found as well in contemporary Chinese literary representations of “minority nationalities”. Representations of landscape belong to the most important symbols that are used in the process of “othering” of the non-Self, and are especially relevant for Chinese representations of Tibet. The article examines ways of representation of Tibetan landscape in Chinese and Tibetan literatures about Tibet, written in the 1980s by both Han Chinese and Tibetan authors. Han Chinese writers have used Tibetan landscape for a symbolic expression of the imaginary distance between themselves and Tibetans, while Tibetan authors stress those natural aspects that can help to the identification with the environment. The analysis reveals the symbolic function of landscape in relation to the newly (re)constructed Tibetan identity on the background of the multiethnic People’s Republic of China at the end of the twentieth century.

The book traces the literary journey that Proust’s work made to China and back by means of translation, intertextual engagement, and the creation of a transcultural dialogue through migrant literature. It begins with a translation history of Proust’s work in China and studies the different (re)translations and editions of La Recherche highlighting their culturally conditioned thematic emphases and negligence, such as time and memory over anti-Semitism and homosexuality. The book then moves on to explore three contemporary mainland Chinese writers’ creative intertextual engagement with Proust against the backdrop of China's explosive development from modernity to post-modernity in the 1990s. Finally, back to France, the book examines the multifarious literary relations between Proust and the Franco-Chinese migrant writer François Cheng. It demonstrates how the cultural heritages of China and the West can be re-negotiated and put into dialogue through the fictional and creative medium of literature, as well as providing a means of understanding the economic, political, and cultural exchanges in our current global context.
The three key areas of exploration — translation, intertext, translcultural dialogue — signal, at once, a strict and narrow focus on a particular form of literary relation between Proust and China in each chapter/part of the study, and an interrelated, and, in many ways, theoretically overlapping, approach to such a relation in the literary polysystem. Through the case of Proust, the project tries to demonstrate how the cultural heritages of China and the West can be re-negotiated, re-thought, and put into dialogue through the fictional and creative medium of literature. Crucial to my comparatist approach to Proust is to see the Chinese translations, literary appropriations, and translingual remaking of his work as a means of understanding the economic, political, and cultural exchange, tension, struggle, and evolution in our current global context.

The paper deals with color-naming words received from more than 200 pages by Feng Jicai prose, as using of multiple color-naming is the specific feature of the writer. The data show how important for Feng Jicai the black color is. It is argued that his accent on the black is not typical for Chinese culture, where red, green and yellow are highly appreciated. I propose that this is because of Chinese landscape painting influence – Feng Jicai is famous not only for his literary works, but also as an artist and calligrapher.

В работе рассматривается, как современные китайские поэты структурируют свои произведения в соответствии с их представлениями о роли нормативного и разговорного в поэзии. Язык китайского стиха конца XX – начала XXI вв. инкорпорирует элементы классического языка вэньянь, настоящей разговорной нормы, заимствования из тополектов и др. элементы. Это иллюстрирует полиморфную природу языкового стандарта современной китайской поэзии, который создаёт напряжение, существующее между реальной языковой практикой стиха и тем идеализированным образом языковой реальности, ориентированной на точное воспроизведение в нём разговорной речи, который проецируется в теоретических и критических работах самих авторов.

In contemporary China, rural-urban migrants constitute a new urban subject with entirely new identity-related issues. This study aims at demonstrating how literature can be a valid field in investigating such evolving subjectivities, through an analysis of Xu Zechen's early novellas depicting migrants' vicissitudes in Beijing. Combining a close reading of the texts and a review of the main social problems characterising rural-urban migration in China, this paper focuses on the representation of the identity crisis within the migrant self in Xu's stories, taking into account the network of meanings employed by the writer to signify the objective and subjective tension between the city and the countryside.

This paper performs a critical reading of the counter-intuitive inclusion of Zhang Zhaohe, a minor writer best known as the wife of the great novelist Shen Congwen, in “Modern Chinese Stories”, an English anthology compiled by Indian diplomat K.M. Panikkar. Proposing the concept of “subterranean translation”, this paper shows how the explicit translation of Zhang’ s story functioned as an implicit inclusion of Shen, when he was denied legitimacy by the state’s literary authorities due to his non-compliance. Shen was present in the anthology not through direct translation of his works, but through a strong intertextuality between his real-life predicament and the protagonist’s dilemma in Zhang’ s story. (This essay is originally published at http://www.wls.sav.sk/?page_id=9)

With only a few exceptions, the literary theme of madness has long been a domain of Western cultural studies. Much of Western writing represents madness as an inquiry into the deepest recesses of the mind, while the comparatively scarce Chinese tradition is generally defined by madness as a voice of social truth. This paper looks at five works of twentieth-century Chinese fiction that draw on socio-somatic aspects of madness to reflect upon social truths, suggesting that the inner voice of subjectivity is perhaps not the only true voice of the self.

This paper examines the new wave of Chinese science fiction as both a subversion and variation of the genre's utopianism of the earlier age. Wang Jinkang's Ant Life (2007), Liu Cixin's China 2185 (1989), the Three-Body Trilogy (2006-2010), and the short story "The Micro-Era" (1999) are the main texts this paper studies. Their reflections on utopianism speak to the post-1989 changing intellectual culture and political economy. This paper argues that the new wave of Chinese science fiction contains a self-conscious effort to energise the utopian/dystopian variations rather than a simple denial of utopianism or a total embrace of dystopian disillusionment, and this is particularly represented in Liu Cixin's novels. The paper also provides some preliminary thoughts on the vision of a post-human future depicted in Liu Cixin's science fiction.

Il presente elaborato svolge un’analisi critica delle opere dell’autrice cinese contemporanea Chen Ran (1962). Diversi racconti brevi ed estratti dal romanzo «Una vita privata», in prima traduzione italiana, sono stati riportati e confrontati, seguendo il metodo dell’indagine comparatistica.

L’elaborato si sofferma, inoltre, sul rapporto tra le protagoniste delle opere e il mondo che le circonda, con particolare attenzione verso la tematica di genere.

This essay theorizes the potential uses and limitations of describing a text as “viral.” Literary texts are often described as viral when they serve as tools of self-expression for those who reproduce them: viral texts must therefore delete or suppress qualities that mark them as alien, and emphasize qualities that identify them with those who might repeat them. As they circulate, viruses span and connect social and intellectual lineages through rhizomatic motion, as described by Deleuze and Guattari. These concepts provide an occasion for a rereading of the contemporary circulation of the poetry of Gu Cheng 顾城, whose verse and biography have circulated widely and been intensively transformed in the past thirty years. The partial and mutated versions of his life and verse that circulate via film, television, print, calligraphy, and especially the Internet produce a shared fantasy of a “free” poet whose genius excludes him from social constraint, and who deserves and enjoys the limitless adoration of women. This fantasy is made circulable in part by suppressing the experience of his wife, Xie Ye 谢烨, whom he killed in 1993, a deletion whose marks are clearly visible in a historicized analysis of popular treatments of their story. On the strength of Deleuze and Guattari’s argument that the rhizome cannot be encompassed but instead only extended through rupture, the essay then reads Xie Ye’s prose compositions “Games” and “Your Name Is Little Mu’er,” finding them to contain stories that can travel and concepts whose circulation may contribute to antipatri-archal goals. The piece concludes by arguing that the metaphor of the virus reveals the position of the scholar who reproduces texts for study, and that thinking through the virus implicates scholars in the ethics and pragmatics of spreading texts.

This article aims to discuss how Gao Xingjian recontextualizes European dystopianism into China under Mao Zedong’s ideological manipulation of “utopia,” which the latter adopts from Karl Marx. The theme of absurd eternal waiting for a bus in Bus Stop is technically employed to criticize Chinese dream for utopia and the idea of utopia itself as a whole. When the theme of waiting in Waiting for Godot is relocated into a Chinese context, it diverts from Western drama by means of Gao Xingjian's dramaturgical innovation as a blend of the East and the West. The absurdity in Bus Stop makes Chinese utopian desire fetishized as an eternal zero, but ubiquitous, and becomes naked politics as utopia for desire and desire for utopia.

本文以万玛才旦小说中的我族意识、我族再现、呈现方式为主要研究课题。相异于以往民族志式的书写，万玛才旦笔下的西藏回归去魅后的平常世界。这片土地上的平凡个体有自己的爱恨挣扎，宗教也不过是生活的组成元素之一。万玛才旦的小说创作在展现西藏受到现代进程和多元价值冲击之余，更将身份认同与困顿的驳杂现实，和对民族历史的宏大思考，放置于日常生活和男女两性之中。透过万玛才旦的笔，读者获取的是藏人自我观望下的我族论述。

Self-representation and Tibetan Identity in Pema Tseden’s Novels
This research plans to delineate self-representation and representation of the Tibetan identity of Pema Tseden vis-à-vis narrative strategy. Different from it in ethnographical writing, Tibet in Pema Tseden’s depiction is a disenchanted place from an ordinary world, wherein religion is only one component of life, and individuals as humans have their own living stories of love, sorrow, and struggle. Besides portraying the conflicts arising from modernity and multicultural communications, Pema Tseden also remodeled the lingering Tibetan identity, the complexities in reality, and the contemplation of ethnicity as well as Tibetan history into the practices of quotidian life and gender differentiations in narrative. Through his introspective manifestation, the reader could obtain a more sophisticated facet of people and life in Tibet and a subtler comprehension of Tibetan identity.

Also published by Wild Peony TanizakiJun'ichiro, A Cats/, o20 and Two Women. Translated b S. Matsui. University of Sydney East Asian Series. 150 pp. IsBN0 9590735 5 8 Sh^in. .Autobiogr@play @1thePoetK",, ekoMits"h@r" 1895-f975 Translated by A. R. Davis and edited by AD. Syrokomla-SIefanowska University of Sydney East Asian Series. 324pp. IsBN0 9590735 3 I Readings in Modern Chinese. Compiled by Liu Wei-ping, Mahel Lee, A. J. Prince, Lily Shaw Lee and R. S. W. Hsu. 161pp. IsBN0 9590735 4 X Basic Chinese Grain",@r ",, of Sentence P"tter"s. AD. Syrokomla-Stetanowska and Mabel Lee. 99pp. IsBN 0 9590735 I 5.

This paper aims to examine Su Tong's three coming-of-age stories in his Mahogany Road Series: "Tattoo" (1993), North of the city (1994), and A Tale of Siskin (2013). It analyzes how Su Tong depicts childhood's memories against the backdrop of the Cultural Revolution and how and why he returned to write about children's growing up process after twenty years by publishing A Tale of Siskin. The paper intends to trace the evolution of constructing and configuring the images of teenagers in Su Tong's works, examines the complex relationships among history, memory, and trauma, and argues that the paces of the children's growing-up process were spurred (or halted) by various political incidents. The life of teenagers in these stories reveal how patriarchal authorities are challenged during the chaotic time. As a writer who belongs to the avant-garde group, Su Tong constructs an imagined chronotope in order to express his concern toward contemporary Chinese society.