China Studies Wiki - User contributions [en]

Literary Societies

2012-04-19T07:14:21Z

Alchemist1330: /* Chuangzuo She */

==What is a Literary Society==
A literary society is a group of people interested in literature. In the modern sense, this refers to a society that wants to promote one genre of literature or a specific writer. Modern literary societies typically promote, research about their chosen author or genre, publish newsletters, and hold meetings where research findings can be presented and discussed. Some are more academic and scholarly, while others are more social groups of amateurs who appreciate a chance to discuss their favorite writer with other hobbyists.

Literature Soceities exsisted very early on in Chinese History though this page will only look at littereray Societies from the Ming onward.

==Ming Dynasty Litterary Societies (1368-1644)==

===Gongan and Jingling Schools===
The Gongan School Focuesed on criticizing those scholars who imitated classical writings blindly. Gong'an School believed that different times have different literature, and objected to how Classical Revival Movement blindly elevated ancient literature and looked down upoun current literature. Prose created by the Gong'an School broke the yoke of conventional patterns and developed its own individuality. The language in their prose is simple and plain. Major members of the Gong'an School were
Yuan Zongdao,
Yuan Hongdao (1568-1610), and
Yuan Zhongdao 

Poems by Yuan Hongdao notice the plainess and directness compared to the classical writings. 

THE CAPITAL 
Bright are the city walls of the capital; 
Red-robed officials shout on broad streets. 
There is a white-headed destitute scholar; 
Hanging from his mule's saddle, sheaves of poems. 
Clasping his calling card, he knocks on doors for work; 
The gate keepers smirk at one another. 
Ten try and ten fail; 
Walk the streets, his face is haggard. 
Always fear in serving the rich; 
Sorry your flattery isn't quick enough. 
Over an eye a black eyepatch; 
Half blind, the fellow is old! 

A STRANGE PRIEST 
Bought his mantle to escape draft and taxes; 
Now he's the head priest amid his splendor. 
Recites incantations, but sounds like a bird; 
Writes Sanscrit that looks like twisted weeds. 
With his begging bowl he distributes food of the spirit; 
On his seat he faces the lamp of Buddha; 
If you don't devote you whole body and soul, 
How can there be anywhere Buddhism at all? 

Existing simultaneously with the Gong'an School was also the Jingling School, whose most famous member's were Zhong Xing and Tan Yuanchun. Like the Gong'an School, the Jingling School also claimed to express natural character and intelligence of humanity.

===Jiangxi School===
[[File:Huang.png|thumb|left| Huang Tingjian Caligraphy ]]
The Jiangxi School was associated with the followers of Huang Tingjian.
Huang Tingjian (Chinese: 黄庭堅) (1045–1105) was a Chinese artist. He is predominantly known as a calligrapher, but was also admired for his painting and poetry. He was one of the Four masters of the Song Dynasty, and was a student of Su Shi at his school of literati painting.Huang is generally regarded as the finest and most creative calligrapher of the Song Dynasty.

==Early to Middle Qing==
[[File:Banana.png|thumb|right| Qian Fenglun most Prominet member of the Banana Garden Poetry Club ]]

===Banana Garden Poetry Club===
The Banana Garden Poetry Club (Jiaoyuan shi she) was a late 17th century. women's poetry group
Founded by Gu Yurui for her daughter Qian Fenglun. Founded in 1644, its members consisted of wealth woman from Qian who were wifes sister or daughters to wealthy or politically powerful men. It was a Womens only society which most of it was focues on poetry composition yet Promoted acquiring graces through education scholarship and learning . Several years after thier exsistance they became Quite popular throghout the Yangzi River Delta.

A Winter Day Feast at Chai�Jixian’s Place 

The stars record that the year is soon over, 
The weather is icy, the air cold and desolate. 
Shrubs and flowers wither in severe frost, 
Heavy dewdrops evaporate in the dawn sun. 
Overjoyed to meet with people of pure and simple minds, 
We sit together in a beautiful mansion of iris and orchid. 
Our merry words and laughter give rise to pleasant countenance and speech, 
In harmony we devote ourselves to literary pursuits. 
Illustrations and books lie scattered around the chamber, 
A table made of yew displays our zithers and lutes. 
As the birds disperse the hall becomes subdued, 
As the clouds gather the curtains acquire dark shadows. 
A life in seclusion keeps the hurly-burly of the world far away, 
Standing aloof, our thoughts are idle and carefree. 
Time flies like a shuttle on the loom, 
I worry that our happy get-together will be over too soon. 
Now that we’re tipsy we break into long songs, 
Having enjoyed to the full such excellent hospitality! 

During this time men were living in a meritocracy and able to move socialy while women were stuck in thier class. The above poem illistatres on of the founding principles of the banana garden society for the pursiut of knowledge.
The image of the beautiful mansion of iris and orchid in Qian Fenglun’s
poem alludes to the ancient poem ‘Xiang furen’ (‘The Lady of the Xiang’). By
comparing the meeting place of the poetry club, the residence of Chai Jingyi, to
the abode of the Xiang River Goddess, the poem links the pursuit of scholarship
with the world of immortals – a realm that women tended to invoke in their poetry.
In this way Qian’s poem endows the world of learning with the aura of femininity.

===Tongcheng School===
[[File: Tongcheng.png|thumb|left|]]
The Tongcheng School is the most distinguished among the mid-Qing Dynasty schools of literature. Its representative writers include Fang Bao, Liu Dakui and Yao Nai, who are all natives of Tongcheng County in Anhui Province, hence the name Tongcheng School. Fang Bao (1668-1749) carried on the tradition of works and made Yi Fa (Yi refers to the central ideas of an article; Fa, to literary forms and artistry) the basic theory of the Tongcheng School's writings.

Works created by the Tongcheng School stressed the elucidation of the article's purpose and didn't encourage loading the writings with fancy phrases; therefore their writings are concise and natural but lack animation.

==Late Qing==
===Southern Society (1908-1922) ===

The Southern Society (Nanshe, 1908-22)
the Nanshe was sometimes called the "literary arm" of that revolutionary organization, publishing some 22 volumes of poetry, and issues of literary style were hotly debated founded by Chen Qubing, Gao Kan, Liu Yazi and eventually had a membership of over 1,000, with branches in major cities
after the GMD allied with the CCP, Liu Yazi became "intoxicated" by Marx and Bolshevism; the Nanshe was dissolved and the Xin nanshe (New Southern Society) was established; their forums were the Minguo ribao and the supplement Juewu (edited by Shao Lizi); Chen Qubing rejected this new orientation and set up his own competing Hunan branch of the Nanshe that opposed the New Culture movement being promoted by his erst while colleagues

===Spring Willow Society===

The Spring Willow Society(Chunlie She) Is extremely unique being that is was a Chinese litterary society that it was founded 1906 or early 1907 in Tokyo by a group of Chinese overseas students. Becuase of this it is still a Chinese literature society since it focused on chinese works and was made up of chinese members. It was the first modern dramatic society and focused on drama, theater and literature. it lead to several other societies founded in japan by Chinese students such as the Jisheng she (1908), Shenyou hui (1909), Wenyi xin juchang (1910), Xinju tongzhi hui (1912-ca.1915), Wenshe (1913), and Chunliu juchang (1914-19150. In 1918/1919 one of the founding members of the Spring Willow Society published the magazine Spring Willow (Chunliu zazhi); this magazine was intended by its main editor to revive the spirit of the original society but, yet, was not attached to any drama society.

==Modern Chinese Literary Societies==
===Wenxue Yanjiu Hui===
The Wenxue Yanjiu Hui was a May Fourth Movement litterary Group, Calling for wesernization. 
Members: Mao Dun, Zheng Zhenduo, Xu Dishan, Wang Tongzhao, Ye Shaojun, Geng Jizhi, Zhou Zuoren, Sun Fuyuan, Guo Shaoyu, Huang Luyin, Bing Xin 
Goals: translations of progressive Western Lit. scientific research of traditional Chinese lit. foster cooperation in literary studies and facilitate the dissemination of knowledge from West and knowledge gained through literary endeavour 
Journals: 
*Xiaoshuo yuebao (Shanghai: Commercial Press) 
*manifesto written by Zhou Zuoren, 
*Wenxue xunkan 
*Shi yuekan (Poetry monthly, 1922-) 
Publication Series 
translation series, creative writing series, humor series, drama series 
Tenets: 
*literature as exposition of real life (not of dao) 
*opposed view of literature as a diversion for pleasure 
*concern with social rather than personal problems 
*opposed notion of inspiration as source of lit. 
*art for life's sake (realism) 

===Chuangzuo She===
Chuangzuo she (Creation Society; 1921-29) 
Members: Guo Moruo, Yu Dafu, Cheng Fangwu, Zhang Ziping, Tian Han, Feng Yuanjun 
Journals: 
*Chuangzuo jikan (1922-25) and Chuangzuo zhoubao 
*Chuangzuo yuekan and Hongshui 
*Wenhua pipan 
Tenets: 
*romanticism (against naturalism) 
*aestheticism (perfection in beauty) 
*self-expression: "Our isms, our ideologies are not the same. Niether do we insist they should be the same. The view that we all share is that we should follow *the demands from the bottom of the heart and get on with our activities in literature and art" ("Afterword," Chuangzao jikan 1, 2) 
*source of literature in inspiration and genius 
*Radicalization of society after 1925 (May 30 Movement) 
Important theoretical articles: 
*"Cong wenxue geming dao geming wenxue" (Cheng Fangwu) 
*"Xin wenxue de shiming" (Cheng Fangwu) 
*"Zenyang de jianshe geming wenxue" (Li Chuli) 
*"Introduction to Sorrows" (Guo Moruo)

==References and PowerPoint==
[[File:Literature_of_the_Late_Ming.pptx]]

http://people.cohums.ohio-state.edu/denton2/publications/research/soc.htm 
http://en.cnki.com.cn/Article_en/CJFDTOTAL-SHDS200902006.htm 
http://history.cultural-china.com/en/50History6377.html 
Berg, Daria, and Chloë Starr. The Quest for Gentility in China: Negotiations beyond Gender and Class. London: Routledge, 2007. Print. 
http://english.ccnt.com.cn/?catog=literature&file=040101&page=3&ads=service_001 
http://unisg.academia.edu/DariaBerg/Papers/1178053/Daria_Berg._Negotiating_Gentility_The_Banana_Garden_Poetry_Club_in_Seventeenth-Century_Jiangnan_

Canonization of Chinese Literature in the East and West

2012-04-19T07:13:23Z

Alchemist1330: /* See Also */

[[File:canon.jpg|thumb|right| The 4 Books and 5 Classics [10] ]]

Today a Literary canon is defined as the best or most aesthetic works of a society, though the canonization of Chinese literature followed a very different route which will be explored in this article. The evolution of China’s literary canon has many different factors contributing to its formation. The main factors include: Politics, Ideology and, Translation. Depending on the historic political clime, the views of the literati, or in more modern times; the influence of translations of western texts; China’s literary canon would evolve to match (Stordalen 2007, Sun 2008, See 2004). When compared to the canons of Ancient Greece, Egypt or Modern literary canons, China's literary canon has been relatively fixed, though more flexible than the literary canon of Dark Age Catholic Europe, or the Islamic Middle East. This amount of rigidity and flexibility derives from the fact that for most of China’s literary history the Confucian works of the ''Four Books and Five Classics'' was at its heart. While the works and supporting works of Confucius and his followers where seen near sacred they did not hold the same religiosity as the works of Mohammed or of Jesus, in the Quran and Bible respectively (Stordalen 2007).

Note to Reader: Because of the many reasons for canonization this paper will be divided into to processes of canonization then chorologically, rather than primarily chronologically then topically. This is to better see the modes of canonization and their effects; since so many overlap and have contributed at the same historical time.

== Literary Canon ==
Before we continue to review the contributing factors to the canonization of Chinese literature it is important to first review several key concepts.

A literary canon denotes a canon of books and other forms of literature that are influential in shaping its target culture. Literary canons are usually works with some aesthetic value, authoritative or superb. Literary canon can extend beyond the written word and can include all forms of art, and the artist. The Canon referred to is that which is Highbrow or High Culture; not to be confused with highly successful or popular works of art, though some canonical works in fact become part of the popular canon (Fernhout 1994).

Traditionally the works and supporting works of Confucius are seen as the canonized classis, though China’s Literary canon extends far beyond these works. Yet in ancient times almost all of the canon was in some way related to the Confucian texts. Also the Four Books and Five Classics are traditionally said to be written by Confucius, it is almost certain that most of the work was in fact written by his followers and scholars years after his death (Chang et alii 2010).

Vectorizing Canons: Canon and because of their ability to form people’s view of life and society (Folkert pp.69).

Vectorized Canons: Canon because they conform to views of life and society that are already established before and outside of the canon (Folkert pp. 69).

== Processes of Canozation of Chinese Literature ==

=== Individuals and Entities ===
[[File:Confucius.png|thumb|left| Confucius [11] ]]
Many literary canons from all over the world have been affected by literary elites or rulers denoting a work or collection of works to be canonical. While this category could very well fall under “Politics and Ideology” it will give a clear view of people and groups if separated from overall trends in political and ideological history. In ancient to pre-modern history if the literary canon was chosen by groups or entities it was chosen the literati, royal court or emperor. Their motives were usually to legitimize their rule and to retain control of the intellectual power.

Early examples of individuals or entities choosing the canon to retain power surround the works of Confucius. Though attributed to be written by Confucius were more likely a construct of scholar groups who edited and compiled his teachings. This "Scribal Class" of scholars who collected the original Chinese classics could change Confucius words at will. An extreme example of altering the canon comes from when Fu Cheng of Jinan claimed to have discovered lost sections of the Book of History, one of the Five Classics of Confucius. Again scholars sought to alter China’s canon by claiming to find more lost Confucian writing within the walls of Confucius’ lecture hall (Stordalen 2007). Besides the literati altering and adding to the early literary canon of China, emperors also had a great influence on the canon. Qin Shihuangdi who many have not truly preformed a book burning but certainly did limit the schools of learning and the different traditions which were part of the literary canon to solidify his rule (Chang et alii 2010).

In modern times while the populous has the most say on the popular canon of Chinese literature, still a "Scholar class" of authors, literary professors, historians and presses have power to consensus what is the literary canon of China.
This section will hopefully bring light to the fact that when dynasties would alter the canon it was mostly the scholar class and imperial government who was doing all the selection.

=== Politics and Ideology ===
[[File:Stalin.png|thumb|right| Stalin [12]]]

Since the beginning of written Chinese literature the current politics, history and ideologies of the society mandated the current literary canon. In early Chinese history almost every time a dynasty fell and was supplanted by a new one the dynasty would either alter or use the current canon of literature to legitimized their rule. Evidence of this is found in the Qin dynasty which, primarily used the school of legalism to legitimize their rule. Following was Han Dynasty following who stressed a major emphasis on the Confucian works to legitimize their rule. The Han and many dynasties after solidified their rule and their literary canon by establishing schools that only focused on the literary works in the canon. Also to receive official positions in the government one need to pass a state exam which was always a test of one’s knowledge of the literary classics and canon. One could see how having a canon which supported you rule would be advantageous for any government. For example the works of Confucius stressed loyalty and fealty to your emperor and government officials (Chang et alii 2010). This is the type of canonized teachings that the dynasties of China emphasized.

Though there were several works that did become canonized through pure aesthetics rather than for its ideology and politics. The “Lament for Ying” written by Qu Yuan followed a different style than the ruling class and broke all of the rules in which one would normally write poetry. Yet, it’s pure beauty changed the canon thereafter into extensive Fu writings and, more than five character lines which was primarily the style of the Confucian classics. Though ironically his innovative work, for its deep feeling and uniqueness was soon a staple and the form was copied by nobles. This lead to a new ideology of writing and is a prime example of vectorizing canonical literature. Others who are great examples of counter culture or vectorizing canonical works are Du Fu, and Li Bai who only became establishment after their times (Chang et alii 2010).

Nearing the era of Modern China a new wave of politics and ideology affected the Chinese Literary Canon. During the time of the May Fourth Movement (1915-1921) there was an overwhelming national view for westernization. This new ideology drastically changed the canon as the late Qing dynasty (early 1900s) incorporated new western fiction and western literary styles into Chinese literature forming a vectorized literary canon. Also later during the height of the Soviet Union and China’s communism, Soviet writing influenced nearly every aspect of China’s canon. For instance whenever an author was part of the Soviet canon he was immediately famous to China and part of it’s canon. Also disgraced writers from Russia had no chance of canonization or popularity in China (Sun 2008). This purely political and ideological influence of the "Red Canon" or Soviet canon, lead to a non-aesthetic literary canon, but one mandated by the Soviet union (Aiken 1986). A prime example of this is when Stalin claimed that Vladimir Mayakovsky was one of the greatest poets of all time. As quoted by Alexander Mikhailov:

“Stalin made a liberal gesture (a dead poet is no longer dangerous!): he declared that Mayakovsky had been, and still remained, the most talented poet of the Soviet era. Disrespect for his memory was proclaimed a ‘crime.’ In these characteristically Stalinist formulations, admitting no nuance, Mayakovsky was canonized. Henceforth, the poet’s every line was elevated to the ranks of great poetry; the weakest elements in Mayakovsky’s creative legacy were held up as models," (Mikhailov 1992).

Besides Mayakovsky joining the canon purely out of the influence of the Soviet Union some writers who were not canonized in their won country but famous in the Soviet Union join the Chinese canon. For instance English writer Ethel Lilian Voynich, was quite unknown in the west but he novel The Gadfly was extremely popular in the Soviet Union, and so it was quickly canonized in china and became just as popular as in the soviet union. Another side effect of the Soviet Union’s ideology dominating China (See 2004).

Needless to say though, some of China’s canon is based on as ethics the vast majority was politically and ideologically influenced and clearly a vectorized Canon.

=== Translations ===
[[File:Mayakovsky.png|thumb|left| Soviet Poet Vladimir Mayakovsky [13]]]

Closely related to politics and ideology, translation has had the largest effect on the modern Chinese literary canon. Translation has also had the largest and almost sole effect on canonization of Chinese literature outside of China in the west. The first aspect of translation that affected the Chinese literary canon was the quality of translations. Both Chinese works translated into western languages and western and soviet literature translated into Chinese. If certain Chinese works were translated correctly into another language or skillfully the work had a chance to enter the global canon, though if the translator did a poor job on its translation it had no chance of western canonicity. Also many times especially when western works were translated into Chinese the translators would openly alter the texts from the originals. This was to such a great extent that the famous Chinese writer Mo Yun said that he found more inspiration in the altered texts than the originals. This leads us into the next process of which translation affected china’s canon which was on the translators themselves. As literary authors would translated text they internalized the new western styles and used them in their won writings. Because of the political clime near the May fourth movement Chinese authors writing like westerners where favorably received. This gave rise to fiction writing in the late Qing dynasty. Examples are Lin Shu and Su Manshu both translator who wrote Chinese fiction novels that were heavily influenced by western writing styles. Also originally Chinese works began to be reevaluated using new western criticism. Wang Guowei used the western tragic theory to reinterpret the definitive canonical work “The Dream of the Red Chamber (Honglou Meng)”. The influence of western translation lead to canon formations and re-formations (Sun 2008). The need for translation of Chinese works lead to reviewing the Chinese canon and solidified many works because the must be reread and retranslated as put by Trevor Ross:

“A work that endures . . . offers qualities of insight, expression, or beauty that demand repeated readings while resisting complete encapsulation by any one reader,” (Ross 2000).

Many of the classic were complex enough to warrant various translations. Also translations and translators would be affected politically and ideologically. The translation of the communist manifesto in 1920 translated by ChenWangdao had a major effect on Chinese Ideology and canonization. For example after the remarks by Lenin over Mayakovsky’s greatness his works were soon translated in to Chinese. And many of the translators tried to find inspiration in him. A gleaming example is of He Jingzhi who adopted similar writing styles as Mayakovsky after translating him (Sun 2008).

In Mayakovsky’s poem “Vladimir Ilyich Lenin” he follows the following format to honor Lenin:

Lenin!

Lenin!

Lenin!

In He Jingzhi poem “Ode to Lei Feng,” written for a soldier in the People’s Liberation Army who Mao Zedong rallied country to honor, he follows the same exact format and style:

Lei Feng!

Lei Feng!

Lei Feng!

Another interesting outcome of translations and intermingling with western works is that some overrated canonical writers, such as Guo Moruo, Mao Dun, and Zhao Shuli, are subject to revaluation, while writers once ostracized for political reasons, including Shen Congwen, are in various stages of canonization. In fact even the Famous Mayakovsky is now somewhat decanonized after China reviewed his works now no longer influenced by the ideology of the former Soviet Union (Sun 2008).

Translations of Chinese works, politics and ideology have also had its effects on cross culture canonization. Bei Dao since being translated is more famous in the western world than within china itself. Other examples include Gao Xingjian the recipient of the 2000 Nobel Prize in literature has been seen as a second rate writer within his home county of China (Sun 2008).

==Conclusion==
[[file:Bei Dao.jpg|thumb|left|Bei Dao western canonized writer though a second rate writter in his home country. [14]]]

While we define today as canon as a work of aesthetics and the most masterful writing of a culture, China’s canon does not adhere to this principle. While there are examples of purely beautiful and breathtaking works of literature and authors who were famous due to pure skill and aesthetics, it is the politics and ideology of China that truly mandated what the literary canon of China was. Whether through translation or the hand of groups and rulers China’s canon has almost always been the reflection of its political and ideological clime.

==References==

1. Susan Hardy Aiken, “Women and the Question of Canonicity,” College English 48 (1986): 290.

2. Chang, Kang-i Sun, and Stephen Owen. The Cambridge History of Chinese Literature. Cambridge, UK: Cambridge UP, 2010. Print.

3. R. Fernhout, Canonical Texts: Bearers of Absolute Authority. Bible, Koran, Veda, Tipitaka: A Phenomenological Study (Amsterdam: Rodopi, 1994);

4. K.W. Folkert, ‘The “Canons” of “Scripture” ’, in Levering (ed.), Rethinking Scripture, pp. 69-79.

5. Alexander Mikhailov, “At the Feet of a Giant (Arguments surrounding Mayakovsky),” trans. Nancy Tittler, New Literary History 23 (1992): 113.

6. Trevor Ross, “Translation and the Canonical Text,” Studies in the Literary Imagination 33, no. 2 (2000): 1.

7. See Wang Ning, “Canon Formation; or, Literary Revisionism: The Formation of Modern Chinese Literary Canon,” Neohelicon 31 (2004): 161 – 74.

8. Terje Stordalen, The Canonization of Ancient Hebrew and Confucian Literature. Journal for the Study of the Old Testament 32.1 (2007)

9. Sun Yifeng, Opening the Cultural Mind: Translation and the Modern Chinese Literary Canon. MLQ March 2008

10. http://cul.chinese.cn/en/article/2009-11/30/content_89257.htm

11. The teaching Confucius. Portrait by Wu Daozi, 685-758, Tang Dynasty.

12. http://justynaizadchannel.blogspot.com/2011/01/scha-bathorys-top-10-most-evil-part-2.htm

13. http://www.masterandmargarita.eu/en/07recencies/poezie.html

14. http://www.poetryfoundation.org/bio/bei-dao

==See Also==
[[file:Chinese_Classics.pptx]] 
[[The 5 Canonized Classics]]

2012-04-19T06:56:21Z

Alchemist1330: /* References and powerpoint */

==What is highbrow, middlebrow, and lowbrow==

Highbrow: Of, relating to, or being highly cultured or intellectual 
Lowbrow:One having uncultivated tastes 
Middlebrow: Term used to describe traditional style novels a cut or two below the very great, produced largely in the late-qing and early republic era. 

==Formation Middle Brow Literature==
Before there was truly only highbrow and lowbrow literature though soon middlebrow litterature began apearing in the Late 1800s to early 1900s. MiddleBrow literature was usauly works which where suffisticated and reference the classic yet becuase expreely popular and became part off the popular canon. The term was First Coined in 1977 as "middlebrow fiction". The MiddleBrow is Avoided by most literary scholars, mostly becuase of its popular status. Also found amoung the works was Western influence as well as traditional chinese litterary styles.

==Examples of Middlebrow==
[[File:Sing_song.png|thumb|right]]
Marriage as Retribution was a ameliorative satire 
Sing Song Girls of Shang Hai the first realistic novel exclusively devoted to the examination of courtisan life. it used the literary device of Flowers. interweaving charaters, Also its string of novel are connect by time so a single novel will happen all in one year while the next will happen all in one year. It also gave great insight to the gay quarters of Shanghai, and opened and closed using a dream. The Sing song Girls used many litterary technque that would become famous in the west many years latter. 
The Flower in the Sinful Sea was another work which was a rather unknown novel. It was written by Zeng Pu (1872-1935) and was published in 1905 as a writing of social criticism. Zeng Pu only continued a work that has been begun by Jin Songcen. Both writers criticize the degeneration of the higher scholars and statesman of the late Qing period. Although the novel is full of citings from traditional literature and is very difficult to understand for people that are not familiar with antique literature, it was also influenced by Western literature. Some of the heroes are veiled representations of real persons, making this novel a real critic of intellectual and court life. 

Mandarin Duck and Butterfly
At first it just meant classical-style love stories, usually the troubled romance of a poor scholar and a beauty. But beginning in the early 1920s, young writers emerging from the May Fourth movement began applying the term to all forms of popular old-style fiction, which in the 1920s and 1930s grew to feature, in addition to love stories, knight-errant novels, scandal novels, detective novels and many others.�Histories of modern literature usually omit discussion of the MDB school of fiction, regarding it as middlebrow, escapist entertainment for a mass readership, unworthy of serious academic and critical discussion. While it did degenerate into soap opera in the 1920s, and into pulp fiction in the 1930s, writers practicing MDB were hugely successful commercially. Though the Mandarin Duck and Butterfly Works have been avoided by Schoolars quantifing the work as middlebrow.

==References and powerpoint==
[[File:Middle_Brow_Literature.pptx]] 
http://en.wikipedia.org/wiki/Middlebrow 
http://www.chinesemirror.com/index/2008/08/1924-mandarin-d.html
http://www.renditions.org/renditions/

Middlebrow Literature

2012-04-19T06:56:07Z

Alchemist1330: /* References */

==What is highbrow, middlebrow, and lowbrow==

Highbrow: Of, relating to, or being highly cultured or intellectual 
Lowbrow:One having uncultivated tastes 
Middlebrow: Term used to describe traditional style novels a cut or two below the very great, produced largely in the late-qing and early republic era. 

==Formation Middle Brow Literature==
Before there was truly only highbrow and lowbrow literature though soon middlebrow litterature began apearing in the Late 1800s to early 1900s. MiddleBrow literature was usauly works which where suffisticated and reference the classic yet becuase expreely popular and became part off the popular canon. The term was First Coined in 1977 as "middlebrow fiction". The MiddleBrow is Avoided by most literary scholars, mostly becuase of its popular status. Also found amoung the works was Western influence as well as traditional chinese litterary styles.

==Examples of Middlebrow==
[[File:Sing_song.png|thumb|right]]
Marriage as Retribution was a ameliorative satire 
Sing Song Girls of Shang Hai the first realistic novel exclusively devoted to the examination of courtisan life. it used the literary device of Flowers. interweaving charaters, Also its string of novel are connect by time so a single novel will happen all in one year while the next will happen all in one year. It also gave great insight to the gay quarters of Shanghai, and opened and closed using a dream. The Sing song Girls used many litterary technque that would become famous in the west many years latter. 
The Flower in the Sinful Sea was another work which was a rather unknown novel. It was written by Zeng Pu (1872-1935) and was published in 1905 as a writing of social criticism. Zeng Pu only continued a work that has been begun by Jin Songcen. Both writers criticize the degeneration of the higher scholars and statesman of the late Qing period. Although the novel is full of citings from traditional literature and is very difficult to understand for people that are not familiar with antique literature, it was also influenced by Western literature. Some of the heroes are veiled representations of real persons, making this novel a real critic of intellectual and court life. 

Mandarin Duck and Butterfly
At first it just meant classical-style love stories, usually the troubled romance of a poor scholar and a beauty. But beginning in the early 1920s, young writers emerging from the May Fourth movement began applying the term to all forms of popular old-style fiction, which in the 1920s and 1930s grew to feature, in addition to love stories, knight-errant novels, scandal novels, detective novels and many others.�Histories of modern literature usually omit discussion of the MDB school of fiction, regarding it as middlebrow, escapist entertainment for a mass readership, unworthy of serious academic and critical discussion. While it did degenerate into soap opera in the 1920s, and into pulp fiction in the 1930s, writers practicing MDB were hugely successful commercially. Though the Mandarin Duck and Butterfly Works have been avoided by Schoolars quantifing the work as middlebrow.

==References and powerpoint==
[[File:Middle_Brow_Literature.pptx]]
http://en.wikipedia.org/wiki/Middlebrow 
http://www.chinesemirror.com/index/2008/08/1924-mandarin-d.html
http://www.renditions.org/renditions/

2012-04-19T04:18:23Z

Alchemist1330: /* Jiangxi School */

==What is a Literary Society==
A literary society is a group of people interested in literature. In the modern sense, this refers to a society that wants to promote one genre of literature or a specific writer. Modern literary societies typically promote, research about their chosen author or genre, publish newsletters, and hold meetings where research findings can be presented and discussed. Some are more academic and scholarly, while others are more social groups of amateurs who appreciate a chance to discuss their favorite writer with other hobbyists.

Literature Soceities exsisted very early on in Chinese History though this page will only look at littereray Societies from the Ming onward.

==Ming Dynasty Litterary Societies (1368-1644)==

===Gongan and Jingling Schools===
The Gongan School Focuesed on criticizing those scholars who imitated classical writings blindly. Gong'an School believed that different times have different literature, and objected to how Classical Revival Movement blindly elevated ancient literature and looked down upoun current literature. Prose created by the Gong'an School broke the yoke of conventional patterns and developed its own individuality. The language in their prose is simple and plain. Major members of the Gong'an School were
Yuan Zongdao
Yuan Hongdao (1568-1610)
Yuan Zhongdao

Poems by Yuan Hongdao notice the plainess and directness compared to the classical writings.

THE CAPITAL
Bright are the city walls of the capital;
Red-robed officials shout on broad streets.
There is a white-headed destitute scholar;
Hanging from his mule's saddle, sheaves of poems.
Clasping his calling card, he knocks on doors for work;
The gate keepers smirk at one another.
Ten try and ten fail;
Walk the streets, his face is haggard.
Always fear in serving the rich;
Sorry your flattery isn't quick enough.
Over an eye a black eyepatch;
Half blind, the fellow is old!

A STRANGE PRIEST
Bought his mantle to escape draft and taxes;
Now he's the head priest amid his splendor.
Recites incantations, but sounds like a bird;
Writes Sanscrit that looks like twisted weeds.
With his begging bowl he distributes food of the spirit;
On his seat he faces the lamp of Buddha;
If you don't devote you whole body and soul,
How can there be anywhere Buddhism at all?

Existing simultaneously with the Gong'an School was also the Jingling School, whose most famous member's were Zhong Xing and Tan Yuanchun. Like the Gong'an School, the Jingling School also claimed to express natural character and intelligence of humanity.

===Jiangxi School===
[[File:Huang.png|thumb|right| The 4 Books and 5 Classics [10] ]]
The Jiangxi School was associated with the followers of Huang Tingjian.
Huang Tingjian (Chinese: 黄庭堅) (1045–1105) was a Chinese artist. He is predominantly known as a calligrapher, but was also admired for his painting and poetry. He was one of the Four masters of the Song Dynasty, and was a student of Su Shi at his school of literati painting.Huang is generally regarded as the finest and most creative calligrapher of the Song Dynasty.

==Early to Middle Qing==

Banana Garden Poetry Club (Jiaoyuan shi she), late 17th c. women's poetry group
Founded by Gu Yurui in 1644

A women only Society

Mostly poetry composition
Founded in 1644, its members consisted of wealth woman who were husbands sister or daughters to wealthy or politically powerful men. They engaged in poetry composition. Became well known throughout the Yangzi delta. When they were the banana garden 7.
Most were from qiantain. Founded by Gu Yurui for her daughter Qian Fenglun. Promoted acquiring graces through education scholarship and learning.

A Winter Day Feast at Chai�Jixian’s Place

The stars record that the year is soon over,
The weather is icy, the air cold and desolate.
Shrubs and flowers wither in severe frost,
Heavy dewdrops evaporate in the dawn sun.
Overjoyed to meet with people of pure and simple minds,
We sit together in a beautiful mansion of iris and orchid.
Our merry words and laughter give rise to pleasant countenance and speech,
In harmony we devote ourselves to literary pursuits.
Illustrations and books lie scattered around the chamber,
A table made of yew displays our zithers and lutes.
As the birds disperse the hall becomes subdued,
As the clouds gather the curtains acquire dark shadows.
A life in seclusion keeps the hurly-burly of the world far away,
Standing aloof, our thoughts are idle and carefree.
Time flies like a shuttle on the loom,
I worry that our happy get-together will be over too soon.
Now that we’re tipsy we break into long songs,
Having enjoyed to the full such excellent hospitality!

Men where living in a meritocracy while woman were living in a monarchy
The image of the beautiful mansion of iris and orchid in Qian Fenglun’s
poem alludes to the ancient poem ‘Xiang furen’ (‘The Lady of the Xiang’). By
comparing the meeting place of the poetry club, the residence of Chai Jingyi, to
the abode of the Xiang River Goddess, the poem links the pursuit of scholarship
with the world of immortals – a realm that women tended to invoke in their poetry.
In this way Qian’s poem endows the world of learning with the aura of femininity.
Another writer to make explicit the link between women, immortals and literati
learning was the seventeenth-century woman poet Wu Xiao from Changzhou.25

Ten Women Poets of Wu (Wu zhong shi zi), late 19th c. group
Sui Yuan (Followers of Yuan Mei, 1716-1798)
Tongcheng school (mid to late Qing) [[File: Tongcheng.png]]
Its representative writers include Fang Bao, Liu Dakui and Yao Nai, who are all natives of Tongcheng County in Anhui Province, hence the name Tongcheng School
The Tongcheng School is the most distinguished among the mid-Qing Dynasty schools of literature. Its representative writers include Fang Bao, Liu Dakui and Yao Nai, who are all natives of Tongcheng County in Anhui Province, hence the name Tongcheng School. Fang Bao (1668-1749) carried on the tradition of works and made Yi Fa (Yi refers to the central ideas of an article; Fa, to literary forms and artistry) the basic theory of the Tongcheng School's writings.

Works created by the Tongcheng School stressed the elucidation of the article's purpose and didn't encourage loading the writings with fancy phrases; therefore their writings are concise and natural but lack animation.

==Late Qing==
Southern Society (Nanshe; 1908-22)
Guocui (National essence)
Chunliu she (Spring Willow society)
founded by Chen Qubing, Gao Kan, Liu Yazi

the Nanshe was sometimes called the "literary arm" of that revolutionary organization, publishing some 22 volumes of poetry, and issues of literary style were hotly debated
founded by Chen Qubing, Gao Kan, Liu Yazi and eventually had a membership of over 1,000, with branches in major cities
with a anti-Qing revolutionary platform (the name itself implied the Ming dynasty); these three had been members of the Guocui she (National essence society); founded shortly after the execution of Qiu Jin and Xu Xilin; many members were also members of the Tongmenghui
the Nanshe was sometimes called the "literary arm" of that revolutionary organization, publishing some 22 volumes of poetry, and issues of literary style were hotly debated
after the GMD allied with the CCP, Liu Yazi became "intoxicated" by Marx and Bolshevism; the Nanshe was dissolved and the Xin nanshe (New Southern Society) was established; their forums were the Minguo ribao and the supplement Juewu (edited by Shao Lizi); Chen Qubing rejected this new orientation and set up his own competing Hunan branch of the Nanshe that opposed the New Culture movement being promoted by his erst while colleagues

Spring Willow Society (Chunlie She)
1906 or early1907 in Tokyo by a group of Chinese overseas students
the first modern dramatic society
Jisheng she (1908) and Shenyou hui (1909), both established in Japan
Wenyi xin juchang (1910), Xinju tongzhi hui (1912-ca.1915), Wenshe (1913), and Chunliu juchang (1914-1915), founded on the mainland
In 1918/1919 Spring Willow (Chunliu zazhi)
1906 or early1907 in Tokyo by a group of Chinese overseas students
formed in Japan in 1908, the first modern dramatic society
These drama societies include Jisheng she (1908) and Shenyou hui (1909), both established in Japan
Wenyi xin juchang (1910), Xinju tongzhi hui (1912-ca.1915), Wenshe (1913), and Chunliu juchang (1914-1915), founded on the mainland
In 1918/1919 one of the founding members of the Spring Willow Society published the magazine Spring Willow (Chunliu zazhi); this magazine was intended by its main editor to revive the spirit of the original society but, as far I can see, was not attached to any drama society

==Modern Chinese Literary Societies==

Members: Mao Dun, Zheng Zhenduo, Xu Dishan, Wang Tongzhao, Ye Shaojun, Geng Jizhi, Zhou Zuoren, Sun Fuyuan, Guo Shaoyu, Huang Luyin, Bing Xin
Goals: translations of progressive Western Lit. scientific research of traditional Chinese lit. foster cooperation in literary studies and facilitate the dissemination of knowledge from West and knowledge gained through literary endeavour
Journals
Xiaoshuo yuebao (Shanghai: Commercial Press)
manifesto written by Zhou Zuoren,
Wenxue xunkan
Shi yuekan (Poetry monthly, 1922-)
Publication Series
translation series, creative writing series, humor series, drama series
Tenets:
literature as exposition of real life (not of dao)
opposed view of literature as a diversion for pleasure
concern with social rather than personal problems
opposed notion of inspiration as source of lit.
art for life's sake (realism)

Chuangzuo she (Creation Society; 1921-29)
Members: Guo Moruo, Yu Dafu, Cheng Fangwu, Zhang Ziping, Tian Han, Feng Yuanjun
Journals:
Chuangzuo jikan (1922-25) and Chuangzuo zhoubao
Chuangzuo yuekan and Hongshui
Wenhua pipan
Tenets:
romanticism (against naturalism)
aestheticism (perfection in beauty)
self-expression: "Our isms, our ideologies are not the same. Niether do we insist they should be the same. The view that we all share is that we should follow the demands from the bottom of the heart and get on with our activities in literature and art" ("Afterword," Chuangzao jikan 1, 2)
source of literature in inspiration and genius
Radicalization of society after 1925 (May 30 Movement)
Important theoretical articles:
"Cong wenxue geming dao geming wenxue" (Cheng Fangwu)
"Xin wenxue de shiming" (Cheng Fangwu)
"Zenyang de jianshe geming wenxue" (Li Chuli)
"Introduction to Sorrows" (Guo Moruo)

==References==
http://people.cohums.ohio-state.edu/denton2/publications/research/soc.htm
http://en.cnki.com.cn/Article_en/CJFDTOTAL-SHDS200902006.htm
http://history.cultural-china.com/en/50History6377.html
Berg, Daria, and Chloë Starr. The Quest for Gentility in China: Negotiations beyond Gender and Class. London: Routledge, 2007. Print.
http://english.ccnt.com.cn/?catog=literature&file=040101&page=3&ads=service_001
http://unisg.academia.edu/DariaBerg/Papers/1178053/Daria_Berg._Negotiating_Gentility_The_Banana_Garden_Poetry_Club_in_Seventeenth-Century_Jiangnan_

Literary Societies

2012-04-19T04:18:04Z

Alchemist1330: /* Jiangxi School */

==What is a Literary Society==
A literary society is a group of people interested in literature. In the modern sense, this refers to a society that wants to promote one genre of literature or a specific writer. Modern literary societies typically promote, research about their chosen author or genre, publish newsletters, and hold meetings where research findings can be presented and discussed. Some are more academic and scholarly, while others are more social groups of amateurs who appreciate a chance to discuss their favorite writer with other hobbyists.

Literature Soceities exsisted very early on in Chinese History though this page will only look at littereray Societies from the Ming onward.

==Ming Dynasty Litterary Societies (1368-1644)==

===Gongan and Jingling Schools===
The Gongan School Focuesed on criticizing those scholars who imitated classical writings blindly. Gong'an School believed that different times have different literature, and objected to how Classical Revival Movement blindly elevated ancient literature and looked down upoun current literature. Prose created by the Gong'an School broke the yoke of conventional patterns and developed its own individuality. The language in their prose is simple and plain. Major members of the Gong'an School were
Yuan Zongdao
Yuan Hongdao (1568-1610)
Yuan Zhongdao

Poems by Yuan Hongdao notice the plainess and directness compared to the classical writings.

THE CAPITAL
Bright are the city walls of the capital;
Red-robed officials shout on broad streets.
There is a white-headed destitute scholar;
Hanging from his mule's saddle, sheaves of poems.
Clasping his calling card, he knocks on doors for work;
The gate keepers smirk at one another.
Ten try and ten fail;
Walk the streets, his face is haggard.
Always fear in serving the rich;
Sorry your flattery isn't quick enough.
Over an eye a black eyepatch;
Half blind, the fellow is old!

A STRANGE PRIEST
Bought his mantle to escape draft and taxes;
Now he's the head priest amid his splendor.
Recites incantations, but sounds like a bird;
Writes Sanscrit that looks like twisted weeds.
With his begging bowl he distributes food of the spirit;
On his seat he faces the lamp of Buddha;
If you don't devote you whole body and soul,
How can there be anywhere Buddhism at all?

Existing simultaneously with the Gong'an School was also the Jingling School, whose most famous member's were Zhong Xing and Tan Yuanchun. Like the Gong'an School, the Jingling School also claimed to express natural character and intelligence of humanity.

===Jiangxi School===
[[File:Huang.jpg|thumb|right| The 4 Books and 5 Classics [10] ]]
The Jiangxi School was associated with the followers of Huang Tingjian.
Huang Tingjian (Chinese: 黄庭堅) (1045–1105) was a Chinese artist. He is predominantly known as a calligrapher, but was also admired for his painting and poetry. He was one of the Four masters of the Song Dynasty, and was a student of Su Shi at his school of literati painting.Huang is generally regarded as the finest and most creative calligrapher of the Song Dynasty.

==Early to Middle Qing==

Banana Garden Poetry Club (Jiaoyuan shi she), late 17th c. women's poetry group
Founded by Gu Yurui in 1644

A women only Society

Mostly poetry composition
Founded in 1644, its members consisted of wealth woman who were husbands sister or daughters to wealthy or politically powerful men. They engaged in poetry composition. Became well known throughout the Yangzi delta. When they were the banana garden 7.
Most were from qiantain. Founded by Gu Yurui for her daughter Qian Fenglun. Promoted acquiring graces through education scholarship and learning.

A Winter Day Feast at Chai�Jixian’s Place

The stars record that the year is soon over,
The weather is icy, the air cold and desolate.
Shrubs and flowers wither in severe frost,
Heavy dewdrops evaporate in the dawn sun.
Overjoyed to meet with people of pure and simple minds,
We sit together in a beautiful mansion of iris and orchid.
Our merry words and laughter give rise to pleasant countenance and speech,
In harmony we devote ourselves to literary pursuits.
Illustrations and books lie scattered around the chamber,
A table made of yew displays our zithers and lutes.
As the birds disperse the hall becomes subdued,
As the clouds gather the curtains acquire dark shadows.
A life in seclusion keeps the hurly-burly of the world far away,
Standing aloof, our thoughts are idle and carefree.
Time flies like a shuttle on the loom,
I worry that our happy get-together will be over too soon.
Now that we’re tipsy we break into long songs,
Having enjoyed to the full such excellent hospitality!

Men where living in a meritocracy while woman were living in a monarchy
The image of the beautiful mansion of iris and orchid in Qian Fenglun’s
poem alludes to the ancient poem ‘Xiang furen’ (‘The Lady of the Xiang’). By
comparing the meeting place of the poetry club, the residence of Chai Jingyi, to
the abode of the Xiang River Goddess, the poem links the pursuit of scholarship
with the world of immortals – a realm that women tended to invoke in their poetry.
In this way Qian’s poem endows the world of learning with the aura of femininity.
Another writer to make explicit the link between women, immortals and literati
learning was the seventeenth-century woman poet Wu Xiao from Changzhou.25

Ten Women Poets of Wu (Wu zhong shi zi), late 19th c. group
Sui Yuan (Followers of Yuan Mei, 1716-1798)
Tongcheng school (mid to late Qing) [[File: Tongcheng.png]]
Its representative writers include Fang Bao, Liu Dakui and Yao Nai, who are all natives of Tongcheng County in Anhui Province, hence the name Tongcheng School
The Tongcheng School is the most distinguished among the mid-Qing Dynasty schools of literature. Its representative writers include Fang Bao, Liu Dakui and Yao Nai, who are all natives of Tongcheng County in Anhui Province, hence the name Tongcheng School. Fang Bao (1668-1749) carried on the tradition of works and made Yi Fa (Yi refers to the central ideas of an article; Fa, to literary forms and artistry) the basic theory of the Tongcheng School's writings.

Works created by the Tongcheng School stressed the elucidation of the article's purpose and didn't encourage loading the writings with fancy phrases; therefore their writings are concise and natural but lack animation.

==Late Qing==
Southern Society (Nanshe; 1908-22)
Guocui (National essence)
Chunliu she (Spring Willow society)
founded by Chen Qubing, Gao Kan, Liu Yazi

the Nanshe was sometimes called the "literary arm" of that revolutionary organization, publishing some 22 volumes of poetry, and issues of literary style were hotly debated
founded by Chen Qubing, Gao Kan, Liu Yazi and eventually had a membership of over 1,000, with branches in major cities
with a anti-Qing revolutionary platform (the name itself implied the Ming dynasty); these three had been members of the Guocui she (National essence society); founded shortly after the execution of Qiu Jin and Xu Xilin; many members were also members of the Tongmenghui
the Nanshe was sometimes called the "literary arm" of that revolutionary organization, publishing some 22 volumes of poetry, and issues of literary style were hotly debated
after the GMD allied with the CCP, Liu Yazi became "intoxicated" by Marx and Bolshevism; the Nanshe was dissolved and the Xin nanshe (New Southern Society) was established; their forums were the Minguo ribao and the supplement Juewu (edited by Shao Lizi); Chen Qubing rejected this new orientation and set up his own competing Hunan branch of the Nanshe that opposed the New Culture movement being promoted by his erst while colleagues

Spring Willow Society (Chunlie She)
1906 or early1907 in Tokyo by a group of Chinese overseas students
the first modern dramatic society
Jisheng she (1908) and Shenyou hui (1909), both established in Japan
Wenyi xin juchang (1910), Xinju tongzhi hui (1912-ca.1915), Wenshe (1913), and Chunliu juchang (1914-1915), founded on the mainland
In 1918/1919 Spring Willow (Chunliu zazhi)
1906 or early1907 in Tokyo by a group of Chinese overseas students
formed in Japan in 1908, the first modern dramatic society
These drama societies include Jisheng she (1908) and Shenyou hui (1909), both established in Japan
Wenyi xin juchang (1910), Xinju tongzhi hui (1912-ca.1915), Wenshe (1913), and Chunliu juchang (1914-1915), founded on the mainland
In 1918/1919 one of the founding members of the Spring Willow Society published the magazine Spring Willow (Chunliu zazhi); this magazine was intended by its main editor to revive the spirit of the original society but, as far I can see, was not attached to any drama society

==Modern Chinese Literary Societies==

Members: Mao Dun, Zheng Zhenduo, Xu Dishan, Wang Tongzhao, Ye Shaojun, Geng Jizhi, Zhou Zuoren, Sun Fuyuan, Guo Shaoyu, Huang Luyin, Bing Xin
Goals: translations of progressive Western Lit. scientific research of traditional Chinese lit. foster cooperation in literary studies and facilitate the dissemination of knowledge from West and knowledge gained through literary endeavour
Journals
Xiaoshuo yuebao (Shanghai: Commercial Press)
manifesto written by Zhou Zuoren,
Wenxue xunkan
Shi yuekan (Poetry monthly, 1922-)
Publication Series
translation series, creative writing series, humor series, drama series
Tenets:
literature as exposition of real life (not of dao)
opposed view of literature as a diversion for pleasure
concern with social rather than personal problems
opposed notion of inspiration as source of lit.
art for life's sake (realism)

Chuangzuo she (Creation Society; 1921-29)
Members: Guo Moruo, Yu Dafu, Cheng Fangwu, Zhang Ziping, Tian Han, Feng Yuanjun
Journals:
Chuangzuo jikan (1922-25) and Chuangzuo zhoubao
Chuangzuo yuekan and Hongshui
Wenhua pipan
Tenets:
romanticism (against naturalism)
aestheticism (perfection in beauty)
self-expression: "Our isms, our ideologies are not the same. Niether do we insist they should be the same. The view that we all share is that we should follow the demands from the bottom of the heart and get on with our activities in literature and art" ("Afterword," Chuangzao jikan 1, 2)
source of literature in inspiration and genius
Radicalization of society after 1925 (May 30 Movement)
Important theoretical articles:
"Cong wenxue geming dao geming wenxue" (Cheng Fangwu)
"Xin wenxue de shiming" (Cheng Fangwu)
"Zenyang de jianshe geming wenxue" (Li Chuli)
"Introduction to Sorrows" (Guo Moruo)

==References==
http://people.cohums.ohio-state.edu/denton2/publications/research/soc.htm
http://en.cnki.com.cn/Article_en/CJFDTOTAL-SHDS200902006.htm
http://history.cultural-china.com/en/50History6377.html
Berg, Daria, and Chloë Starr. The Quest for Gentility in China: Negotiations beyond Gender and Class. London: Routledge, 2007. Print.
http://english.ccnt.com.cn/?catog=literature&file=040101&page=3&ads=service_001
http://unisg.academia.edu/DariaBerg/Papers/1178053/Daria_Berg._Negotiating_Gentility_The_Banana_Garden_Poetry_Club_in_Seventeenth-Century_Jiangnan_

File:Spring Willow.png

2012-04-19T04:15:14Z

Alchemist1330:

File:Huang.png

2012-04-19T04:14:16Z

Alchemist1330:

Middlebrow Literature

2012-04-19T03:02:35Z

Alchemist1330: Created page with 'MiddleBrow litterature appeared in the ming dynasty as ...'

MiddleBrow litterature appeared in the ming dynasty as ...