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Jia Pingwa

2016-06-13T15:11:22Z

Jzw:

'''Introduction'''

Jia Pingwa was born on February 21st, 1952 in Shangluo, Shaanxi province of China. Now he lives in Xi’an, Shanxi province.
He started publishing works in 1974.
He graduated from Chinese literature department of North West University in 1975. After graduation, he worked as a literature editor for several years.
In 1982, he worked in Xi’an literature federation. After then, he became a full-time writer and was engaged in professional writing.
He is the member of national committee of CPPCC, chairman of the writers’ association of Shaanxi province and Xi’an people’s congress.

'''Works and Awards'''

1978 ''FULL MOON'' (《满月儿》) The first national award for the best short stories.（全国优秀短篇小说奖）
1984 ''LA YUE•ZHENG YUE''（《腊月•正月》）The author's association of China the third national excellent novelette award（中国作协第三届全国优秀中篇小说奖）
1987 ''FU ZAO''（《浮躁》）Mobil pegasus prize for literature in the United States（美国美孚飞马文学奖）
1997 ''FEI DU'' （《废都》） The French mina foreign literature（法国费米娜文学奖）
2008 ''QIN QIANG'' （《秦腔》）Mao dun literature prize（茅盾文学奖）
2011 ''ANCIENT FURNACE'' （《古炉》）Shi Naian literature prize（施耐庵文学奖）

'''Something about ''QIN QIANG'''''

“Qin Qiang ” is a traditional opera in Jia Pingwa’s hometown. However, His writing purpose is not to introduce the opera. Qin QIANG stands for the traditional forms. The writer said, ”I have seen the traditional forms in my hometown be lost step by step, and I want to save the dying process of this paragraph. So I need to build a monument.”(“我目睹故乡的传统形态一步步消亡，想要保存消亡过程的这一段，所以要立一个碑。以后农村发展了，变化了，与我都没有关系，但起码这一段生活和我有关，有精神和灵魂的关系。”) In other words, Qin qiang shows Jia Pingwa’s love for his hometown and his thinking about the rural condition after the revolution. To some degree, it tells the life of the writer’s childhood. Qingfeng street in the novel is based on dihua street. Dihua is the street where he lived when I was young. The story has no fixed main character. Almost everyone in the story has a bad ending. The readers can see his sympathy on the peasants and his worries about the development of the countryside in it.
Jia Pingwa is good at creating the vernacular novels. He has a high attainments in the jargon. ''Qin Qiang'' is a novel about his hometown. It’s full of hometown nostalgia. However, it is difficult for foreign readers to understand and translate because of the dialect writing. So he is not as famous as Yu Hua or Mo Yan in western countries.

Jia Pingwa

2016-06-13T15:10:43Z

Jzw: Created page with "'''Introduction''' Jia Pingwa was born on February 21st, 1952 in Shangluo, Shaanxi province of China. Now he lives in Xi’an, Shanxi province. He started publishing works in..."

'''Introduction'''

Jia Pingwa was born on February 21st, 1952 in Shangluo, Shaanxi province of China. Now he lives in Xi’an, Shanxi province.
He started publishing works in 1974.
He graduated from Chinese literature department of North West University in 1975. After graduation, he worked as a literature editor for several years.
In 1982, he worked in Xi’an literature federation. After then, he became a full-time writer and was engaged in professional writing.
He is the member of national committee of CPPCC, chairman of the writers’ association of Shaanxi province and Xi’an people’s congress.

'''Works and Awards'''

1978 ''FULL MOON'' (《满月儿》) The first national award for the best short stories.（全国优秀短篇小说奖）
1984 ''LA YUE•ZHENG YUE''（《腊月•正月》）The author's association of China the third national excellent novelette award（中国作协第三届全国优秀中篇小说奖）
1987 ''FU ZAO''（《浮躁》）Mobil pegasus prize for literature in the United States（美国美孚飞马文学奖）
1997 ''FEI DU'' （《废都》） The French mina foreign literature（法国费米娜文学奖）
2008 ''QIN QIANG'' （《秦腔》）Mao dun literature prize（茅盾文学奖）
2011 ''ANCIENT FURNACE'' （《古炉》）Shi Naian literature prize（施耐庵文学奖）

Something about ''QIN QIANG''

“Qin Qiang ” is a traditional opera in Jia Pingwa’s hometown. However, His writing purpose is not to introduce the opera. Qin QIANG stands for the traditional forms. The writer said, ”I have seen the traditional forms in my hometown be lost step by step, and I want to save the dying process of this paragraph. So I need to build a monument.”(“我目睹故乡的传统形态一步步消亡，想要保存消亡过程的这一段，所以要立一个碑。以后农村发展了，变化了，与我都没有关系，但起码这一段生活和我有关，有精神和灵魂的关系。”) In other words, Qin qiang shows Jia Pingwa’s love for his hometown and his thinking about the rural condition after the revolution. To some degree, it tells the life of the writer’s childhood. Qingfeng street in the novel is based on dihua street. Dihua is the street where he lived when I was young. The story has no fixed main character. Almost everyone in the story has a bad ending. The readers can see his sympathy on the peasants and his worries about the development of the countryside in it.
Jia Pingwa is good at creating the vernacular novels. He has a high attainments in the jargon. ''Qin Qiang'' is a novel about his hometown. It’s full of hometown nostalgia. However, it is difficult for foreign readers to understand and translate because of the dialect writing. So he is not as famous as Yu Hua or Mo Yan in western countries.

Modern Chinese Literature

2016-06-13T14:27:22Z

Jzw: /* Master narrators Mo Yan, Yu Hua, Jia Pingwa, Wang Shuo */

= Emergence of modern Chinese literature =

= Historical and cultural background late Qing =
* Genre development in China, scholars as authors, Mandarin & Butterfly School
* Cao Xueqin, The Story of the Stone, also known as The Dream of the Red Chamber, 1791, transl. David Hawkes, John Minford

= Encounter with the West, Westernization =
* [[Wu Jianren]]--[[User:Sunflowertide|Sunflowertide]] ([[User talk:Sunflowertide|talk]]) 10:49, 1 June 2016 (UTC)
** New Story of the Stone, utopian novel
* Liang Qichao, Accounts of the future of new China, utopian fragment
* Secondary Literature:
** Wang, David Derwei. Fin-de-siecle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911. Stanford: Stanford UP, 1997.
** Wang, David Derwei. “Translating Modernity.” Pollard, David E., ed. Translation and Creation: Readings of Western Literature in Early Modern China, 1840–1918. Amsterdam: John Benjamins, 1998. 303-330.
** Wang Dun (王敦). “The Late Qing’s Other Utopias: China’s Science-Fictional Imagination, 1900-1910”, in: Concentric: Literary and Cultural Studies 34.2, September 2008: 37-61
** John Fitzgerald, The Unfinished History of China's Future, in: Thesis Eleven 1999 57:17, here pp. 21-23, http://the.sagepub.com/content/57/1/17

= May Fourth iconoclasm - Historical and cultural background May Fourth =
* Liang Qichao, Foreword to the Publication of Political Novels in Translation, Denton 71-73
* Hu Shi, Some modest proposals for the Reform of Literature, D1996:123-139

= The role of translations and translators =
* Yan Fu
* Lin Shu
* the earliest translations [unpublished ppt presentation_woesler.pptx, paper: woesler_early_translations_of_german_literature_into_chinese_final.doc, paper]
* the selection process and intention of translations

= Discovery of the alienated Self – World Literature =
* McDougall and Louie, 1-185; focus on pages 1-30
* [[Lu Xun (1881-1936)]] Beween activism and self-doubt - the development of Lu Xun [[User:Maranda|Maranda]] 21:14, 11 September 2012 (UTC) and 21:45, 4 October 2012 (UTC)
** Lu Xun: Preface to the first collection of Short Stories "Call to arms" 1922 (LG:3-7), A Madman's Diary 1918 (LG:8-16), Kong Yiji 1919 (LG:17-21)
** Further information: http://people.cohums.ohio-state.edu/denton2/courses/c503/mad.htm, http://people.cohums.ohio-state.edu/denton2/courses/c503/kong.htm
** "Hometown" http://www.coldbacon.com/writing/luxun-calltoarms.html#Home [in China: A Traveler's Literary Companion]

= Living to see the Western literary epochs in Chinese time lapse. The Literary societies and May Fourth Romanticism =
* Required reading: http://people.cohums.ohio-state.edu/denton2/publications/research/soc.htm
* Further reading:
**Literary Societies of Republican China. Edited by KIRK A. DENTON and MICHEL HOCKX. Lanham, Md.: Lexington Books, 2008. ix, 591 pp.
**Critical Studies:In the Party Spirit: Socialist Realism and Literary Practice in the Soviet Union, East Germany and China,Edited by H.Chung with M.Falchikov,B.S.McDougall and K.McPherson
* Literary Research Society
**[[Zhou Zuoren]],[[Zheng Zhenduo]],[[Shen Yanbing]]--[[User:Sunshine|Sunshine]] ([[User talk:Sunshine|talk]]) 15:46, 12 June 2016 (UTC)
* Crescent Moon Society
**Xu Zhimo's poems 1925-1930 [499-501]
* Creation Society
** [[Yu Dafu]], "Sinking" 1921 [31-55]
** [[Guo Moruo (1892 -1978)]] [[User:DavidSmith|DavidSmith]] 21:40, 4 October 2012 (UTC)
*** Guo Moruo: “The hound of heaven” 1920
*** http://global.britannica.com/biography/Guo-Moruo--[[User:Sunshine|Sunshine]] ([[User talk:Sunshine|talk]]) 15:46, 12 June 2016 (UTC)

= Literature of the 1930s =
*[[Qian Zhongshu (1910 – 1998)]] [[User:Ericaangie]] 13:19, 5 October 2012 (UTC)
** Self-selected excerpts from Qian Zhongshu, [[Fortress besieged]] --[[User:Sunflowertide|Sunflowertide]] ([[User talk:Sunflowertide|talk]]) 10:36, 1 June 2016 (UTC) 1947

= Women writers =
* Literature of the Megacities - The inner life of Shanghainese women writers with a focus on Zhang Ailing
* [[Zhang Ailing]] -- 2012 Corinneb 13:21, 8 October 2012 (UTC) [[User:Mark]] 15:15, 25 May 2016 (UTC)
* [[Ling Shuhua (1900-1990)]] [[User:Mattstrock|Mattstrock]] 21:22, 1 October 2012 (UTC)
* Ling Shuhua, "The Night of Mid-Autumn Festival" [95-102];
*[[ Xiao Hong (1911-1942)]] [[User:PhilipHarding|PhilipHarding]] 03:04, 9 October 2012 (UTC)
* Xiao Hong, "Hands" [161-73]; "On the Oxcart" [in China: A Traveler's Literary Companion]
* [[Zhang Jie (born 1937)]][[User:Ericaangie|Ericaangie]] 18:18, 4 December 2012 (UTC)

= The fall: Authors yoke their literature for a deceiving ideology. Lu Xun’s proud ox bows his head not only for children, but now also for party action =
* Lu Xun’s ambiguous attitude towards taking physical action, towards the impact of literature on society and towards serving an ideology with literature.
* Mao's claim of Lu Xun

= The socialist era, Yan'an Literature and Rectification =
* Mao Zedong, Poems, Talks in Yan'an: Literature and Art for the Masses and the Use of Traditional Forms, 1938, D1996:433-435
* Ding Ling, "When I Was in Hsia Village" [132-46]
* Mao Dun and "Spring Silkworms" [56-73]

= Authors in transition: From Revolutionary Romanticism to Reform Literature =
* [[Wang Meng]] by Maranda 21:45, 4 October 2012 (UTC)
* Wang Meng, Long Live [the] Youth!
* Wang Meng, Hard Porridge, trans. by Chen Zishan
* [[Ba Jin]] [[User:PhilipHarding|PhilipHarding]] 21:43, 4 December 2012 (UTC): Family and the self-censorship in the later edition

= On different paths: Bing Xin, Zhang Jie =
* [[Bing Xin]]
* Zhang Jie: Heavy Wings
* [[Zhang Jie: Kid From The Forest]]

= Chinese Modernism and the Aesthetic =
* McDougall and Louie, 189-321; focus on pages 189-207
* Shi Zhicun, "One Evening in the Rainy Season" [115-24]
* Regional literature
* Shen Congwen, "Xiaoxiao" [82-94]
* "Meijin, Baozi, and the White Kid" [in China: A Traveler's Liteary Companion]

= Post-Revolutionary Literature; Cultural Revolution =
* "Red Detachment of Women" [Film Viewing]

= Post-Mao Literature, Scars and realism, Roots literature =
* McDougall and Louie, 325-448; focus on pages 325-44
* Liu Heng, "Dogshit Food" [366-78]; scars literature
* Yan Lianke, "Black Bristle, White Bristles" [in China: A Traveler's Literary Companion]
* [[The Scar Literature After "the Cultural Revolution"]]
** Lu Xinhua, Scar

= Master narrators Mo Yan, Yu Hua, Jia Pingwa, Wang Shuo =
* [[Mo Yan]] 莫言 by Corinne B.
: His story: "Old Gun" [in China: A Traveler's Literary Companion], novel 生死疲勞 "Life and Death are Wearing me out"
* [[Yu Hua]], "Brothers" by David 06:48, 5 December 2012 (UTC) by Jackie(BNU)2016
* [[Jia Pingwa]]
* Wang Shuo

= Contemporary Women authors =
* [[Bi Shumin]](毕淑敏), 女儿拳 Women’s boxing, 女心理师 The female psychologist
* [[Yan Geling]](严歌苓），The Flowers of War 金陵十三钗，Little Aunt Crane 小姨多鹤， The Lost Daughter of Happiness 扶桑

= Avant-garde literature and post-socialist present =
----
* [[Avant-garde literature]]
* [[post-socialist present]]
* [[Su Tong]], "[[Escape]]" [445-54];[[Link title]]
* Yu Hua, "[[On the Road at Eighteen]]" [439-44]
** modern Chinese literary life, such as publishing in journals and newspaper supplements, working within literary societies or associations, and dealing with censorship
* Gu Cheng, Mang Ke, Bei Dao: Poets of the Obscure School since the 1980s
[[Media:Avant-garde literature and post-socialist present.ogg]]

= Taiwan literature =
* Zhang Dachun, "Lucky Worries About His Country" (403-416)
* Zhu Tianwen, "Fin de Siècle Splendor" [388-402]

= Longing for something literature I: Historicizing, II: Tibet Exotism =
* [[Historicizing]]
* [[Yu Dan]] 于丹, 《论语》心得 Confucius in your heart, [[Yi Zhongtian]] (易中天)
* [[Alai]]

= Megacity Literature II - Peking and Vagabound Literature =
* Xu Zechen (徐则臣), 跑步穿过中关村 Peking double quick
* Liu Zhenyun (刘震云), 我叫刘跃 The pickpockets

= Between cult and celebrity =
* Cult author Guo Jingming
** Book series "Bestseller"
** [[Guo Jingming]] (郭敬明), 悲伤逆流成河 [[Cry me a sad river]]
* Cult author Mian Mian
** Mian Mian (棉棉), 声名狼籍 Panda Sex

= Critical surrealist Han Han, young authors =
* [[Han Han]] by Matt S.
:Triple door
:His Land

= Blog, Web and Fan literature =
* Blogs (blog literature?), from web to paper literature
* Ai Weiwei, Han Han, Annie Baobei

= Fan literature =
* Web literature portal qidian.com