By Sung-sheng Yvonne Chang
Situating her topic in its historic context, Sung-sheng Yvonne Chang lines the relationship among Taiwan's Modernists and the liberal students of pre-Communist China. She discusses the Modernists' ambivalent courting with modern Taiwan's conservative tradition, and gives a close serious survey of the strife among the Modernists and the socialistically susceptible, anti-Western Nativists. Chang's strategy is finished, combining chinese language and comparative views. applying the serious insights of Raymond Williams, Peter Burger, M. M. Bahktin, and Fredric Jameson, she investigates the advanced concerns all for chinese language writers' appropriation of avant-gardism, aestheticism, and numerous different Western literary ideas and methods. inside this framework, Chang bargains unique, hard interpretations of significant works through the best-known chinese language Modernists from Taiwan.
As a thorough advent to a literature of substantial caliber and impression, and as a case learn of the worldwide unfold of Western literary Modernism, this ebook may be of serious curiosity to scholars of chinese language and comparative literature, and to people who desire to comprehend the wide styles of twentieth-century literary history.
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Additional info for Modernism and the Nativist Resistance: Contemporary Chinese Fiction from Taiwan
Evidently, the traditional mind-set, the ideological force behind the popularity of Ch'i-chiin's essays, is inherently in contradiction with the very generic conventions of the modern short story that the Modernists endeavored to consolidate. Realistic Fiction Having in their formative years been exposed to works of Lu Hsiin, Mao Tun, Pa Chin, and Lao She, writers of the older generation by and large carried on the Chinese "realist" tradition-a somewhat atrophied version of nineteenth-century European realism-established during the May Fourth era and the thirties.
At this time, the daughter's sense of indignation is also assuaged. After both her parents have passed away, she lives with her father's second wife and is then capable ofempathizing with the aging woman who no longer wears fancy hairdos. The story concludes with a lament on the transience of life and the futility ofthe human struggle. Both the narrator and her mother adhered to the principle of passivity. Instead of identifying the oppressor in an unjust system, here polygamy, the story evokes the virtue of wen-jou tun-hou (geniality and sincerity) and relieves personal griefwith the Buddhist and Taoist principle ofnonaction.
The preface starts with a firm denunciation of sentimentalism as the patent flaw of modern Chinese literature as a whole. Having identified the human psyche as the focus of her thematic interest, au-yang Tzu proceeds to postulate several technical rules to be followed in short story writing. Citing Henry James' scenic method and the Aristotelian "three unities," she stresses the key role played by "structure" in a literary work, apparently privileging dramatic presentation over authorial narration.