https://bou.de/u/api.php?action=feedcontributions&feedformat=atom&user=SunflowertideChina Studies Wiki - User contributions [en]2026-04-04T11:14:27ZUser contributionsMediaWiki 1.35.14https://bou.de/u/index.php?title=Modern_Chinese_Literature&diff=93573Modern Chinese Literature2016-06-01T10:54:49Z<p>Sunflowertide: /* Post-Mao Literature, Scars and realism, Roots literature */</p>
<hr />
<div>= Emergence of modern Chinese literature =<br />
<br />
= Historical and cultural background late Qing =<br />
* Genre development in China, scholars as authors, Mandarin & Butterfly School<br />
* Cao Xueqin, The Story of the Stone, also known as The Dream of the Red Chamber, 1791, transl. David Hawkes, John Minford<br />
<br />
= Encounter with the West, Westernization =<br />
* [[Wu Jianren]]--[[User:Sunflowertide|Sunflowertide]] ([[User talk:Sunflowertide|talk]]) 10:49, 1 June 2016 (UTC)<br />
** New Story of the Stone, utopian novel<br />
* Liang Qichao, Accounts of the future of new China, utopian fragment<br />
* Secondary Literature:<br />
** Wang, David Derwei. Fin-de-siecle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911. Stanford: Stanford UP, 1997.<br />
** 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.<br />
** 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<br />
** 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<br />
<br />
= May Fourth iconoclasm - Historical and cultural background May Fourth =<br />
* Liang Qichao, Foreword to the Publication of Political Novels in Translation, Denton 71-73<br />
* Hu Shi, Some modest proposals for the Reform of Literature, D1996:123-139<br />
<br />
= The role of translations and translators =<br />
* Yan Fu<br />
* Lin Shu<br />
* the earliest translations [unpublished ppt presentation_woesler.pptx, paper: woesler_early_translations_of_german_literature_into_chinese_final.doc, paper]<br />
* the selection process and intention of translations<br />
<br />
= Discovery of the alienated Self – World Literature =<br />
* McDougall and Louie, 1-185; focus on pages 1-30<br />
* [[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)<br />
** 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)<br />
** Further information: http://people.cohums.ohio-state.edu/denton2/courses/c503/mad.htm, http://people.cohums.ohio-state.edu/denton2/courses/c503/kong.htm<br />
** "Hometown" http://www.coldbacon.com/writing/luxun-calltoarms.html#Home [in China: A Traveler's Literary Companion]<br />
<br />
= Living to see the Western literary epochs in Chinese time lapse. The Literary societies and May Fourth Romanticism =<br />
* Required reading: http://people.cohums.ohio-state.edu/denton2/publications/research/soc.htm<br />
* Further reading: Literary Societies of Republican China. Edited by KIRK A. DENTON and MICHEL HOCKX. Lanham, Md.: Lexington Books, 2008. ix, 591 pp.<br />
* Crescent Moon<br />
* Creation Society<br />
* Yu Dafu, "Sinking" 1921 [31-55], Xu Zhimo's poems 1925-1930 [499-501]<br />
* [[Guo Moruo (1892 -1978)]] [[User:DavidSmith|DavidSmith]] 21:40, 4 October 2012 (UTC)<br />
** Guo Moruo: “The hound of heaven” 1920<br />
<br />
= Literature of the 1930s =<br />
*[[Qian Zhongshu (1910 – 1998)]] [[User:Ericaangie]] 13:19, 5 October 2012 (UTC)<br />
** Self-selected excerpts from Qian Zhongshu, [[Fortress besieged]] --[[User:Sunflowertide|Sunflowertide]] ([[User talk:Sunflowertide|talk]]) 10:36, 1 June 2016 (UTC) 1947<br />
<br />
= Women writers =<br />
* Literature of the Megacities - The inner life of Shanghainese women writers with a focus on Zhang Ailing<br />
* [[Zhang Ailing(1920-1995)]] -- [[User:Mark]] 15:15, 25 May 2016 (UTC) <br />
* [[Ling Shuhua (1900-1990)]] [[User:Mattstrock|Mattstrock]] 21:22, 1 October 2012 (UTC)<br />
* Ling Shuhua, "The Night of Mid-Autumn Festival" [95-102];<br />
*[[ Xiao Hong (1911-1942)]] [[User:PhilipHarding|PhilipHarding]] 03:04, 9 October 2012 (UTC)<br />
* Xiao Hong, "Hands" [161-73]; "On the Oxcart" [in China: A Traveler's Literary Companion]<br />
* [[Zhang Jie (born 1937)]][[User:Ericaangie|Ericaangie]] 18:18, 4 December 2012 (UTC)<br />
<br />
= 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 =<br />
* Lu Xun’s ambiguous attitude towards taking physical action, towards the impact of literature on society and towards serving an ideology with literature.<br />
* Mao's claim of Lu Xun<br />
<br />
= The socialist era, Yan'an Literature and Rectification =<br />
* Mao Zedong, Poems, Talks in Yan'an: Literature and Art for the Masses and the Use of Traditional Forms, 1938, D1996:433-435<br />
* Ding Ling, "When I Was in Hsia Village" [132-46]<br />
* Mao Dun and "Spring Silkworms" [56-73]<br />
<br />
= Authors in transition: From Revolutionary Romanticism to Reform Literature =<br />
* [[Wang Meng]] by Maranda 21:45, 4 October 2012 (UTC)<br />
* Wang Meng, Long Live [the] Youth!<br />
* Wang Meng, Hard Porridge, trans. by Chen Zishan<br />
* [[Ba Jin]] [[User:PhilipHarding|PhilipHarding]] 21:43, 4 December 2012 (UTC): Family and the self-censorship in the later edition<br />
<br />
= On different paths: Bing Xin, Zhang Jie =<br />
* [[Bing Xin]]<br />
* Zhang Jie: Heavy Wings<br />
* [[Zhang Jie: Kid From The Forest]]<br />
<br />
= Chinese Modernism and the Aesthetic =<br />
* McDougall and Louie, 189-321; focus on pages 189-207<br />
* Shi Zhicun, "One Evening in the Rainy Season" [115-24]<br />
* Regional literature<br />
* Shen Congwen, "Xiaoxiao" [82-94]<br />
* "Meijin, Baozi, and the White Kid" [in China: A Traveler's Liteary Companion]<br />
<br />
= Post-Revolutionary Literature; Cultural Revolution =<br />
* "Red Detachment of Women" [Film Viewing]<br />
<br />
= Post-Mao Literature, Scars and realism, Roots literature =<br />
* McDougall and Louie, 325-448; focus on pages 325-44<br />
* Liu Heng, "Dogshit Food" [366-78]; scars literature<br />
* Yan Lianke, "Black Bristle, White Bristles" [in China: A Traveler's Literary Companion]<br />
* [[The Scar Literature After "the Cultural Revolution"]]<br />
** Lu Xinhua, Scar<br />
<br />
= Master narrators Mo Yan, Yu Hua, Jia Pingwa, Wang Shuo =<br />
* [[Mo Yan]] 莫言 by Corinne B.<br />
: His story: "Old Gun" [in China: A Traveler's Literary Companion], novel 生死疲勞 "Life and Death are Wearing me out"<br />
* [[Yu Hua]], "Brothers" by David 06:48, 5 December 2012 (UTC)<br />
* Jia Pingwa<br />
* Wang Shuo<br />
<br />
= Contemporary Women authors =<br />
* Bi Shumin (毕淑敏), 女儿拳 Women’s boxing, 女心理师 The female psychologist<br />
<br />
= Avant-garde literature and post-socialist present =<br />
* Su Tong, "Escape" [445-54];<br />
* Yu Hua, "On the Road at Eighteen" [439-44]<br />
** modern Chinese literary life, such as publishing in journals and newspaper supplements, working within literary societies or associations, and dealing with censorship<br />
* Gu Cheng, Mang Ke, Bei Dao: Poets of the Obscure School since the 1980s<br />
<br />
= Taiwan literature =<br />
* Zhang Dachun, "Lucky Worries About His Country" (403-416)<br />
* Zhu Tianwen, "Fin de Siècle Splendor" [388-402]<br />
<br />
= Longing for something literature I: Historicizing, II: Tibet Exotism =<br />
* Yu Dan 于丹, 《论语》心得 Confucius in your heart, Yi Zhongtian (易中天)<br />
* Alai<br />
<br />
= Megacity Literature II - Peking and Vagabound Literature =<br />
* Xu Zechen (徐则臣), 跑步穿过中关村 Peking double quick<br />
* Liu Zhenyun (刘震云), 我叫刘跃 The pickpockets<br />
<br />
= Between cult and celebrity =<br />
* Cult author Guo Jingming<br />
** Book series "Bestseller"<br />
** Guo Jingming (郭敬明), 悲伤逆流成河 Cry me a sad river<br />
* Cult author Mian Mian<br />
** Mian Mian (棉棉), 声名狼籍 Panda Sex<br />
<br />
= Critical surrealist Han Han, young authors =<br />
* [[Han Han]] by Matt S.<br />
:Triple door<br />
:His Land<br />
<br />
= Blog, Web and Fan literature =<br />
* Blogs (blog literature?), from web to paper literature<br />
* Ai Weiwei, Han Han, Annie Baobei<br />
<br />
= Fan literature =<br />
* Web literature portal qidian.com</div>Sunflowertidehttps://bou.de/u/index.php?title=Modern_Chinese_Literature&diff=93572Modern Chinese Literature2016-06-01T10:49:13Z<p>Sunflowertide: /* Encounter with the West, Westernization */</p>
<hr />
<div>= Emergence of modern Chinese literature =<br />
<br />
= Historical and cultural background late Qing =<br />
* Genre development in China, scholars as authors, Mandarin & Butterfly School<br />
* Cao Xueqin, The Story of the Stone, also known as The Dream of the Red Chamber, 1791, transl. David Hawkes, John Minford<br />
<br />
= Encounter with the West, Westernization =<br />
* [[Wu Jianren]]--[[User:Sunflowertide|Sunflowertide]] ([[User talk:Sunflowertide|talk]]) 10:49, 1 June 2016 (UTC)<br />
** New Story of the Stone, utopian novel<br />
* Liang Qichao, Accounts of the future of new China, utopian fragment<br />
* Secondary Literature:<br />
** Wang, David Derwei. Fin-de-siecle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911. Stanford: Stanford UP, 1997.<br />
** 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.<br />
** 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<br />
** 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<br />
<br />
= May Fourth iconoclasm - Historical and cultural background May Fourth =<br />
* Liang Qichao, Foreword to the Publication of Political Novels in Translation, Denton 71-73<br />
* Hu Shi, Some modest proposals for the Reform of Literature, D1996:123-139<br />
<br />
= The role of translations and translators =<br />
* Yan Fu<br />
* Lin Shu<br />
* the earliest translations [unpublished ppt presentation_woesler.pptx, paper: woesler_early_translations_of_german_literature_into_chinese_final.doc, paper]<br />
* the selection process and intention of translations<br />
<br />
= Discovery of the alienated Self – World Literature =<br />
* McDougall and Louie, 1-185; focus on pages 1-30<br />
* [[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)<br />
** 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)<br />
** Further information: http://people.cohums.ohio-state.edu/denton2/courses/c503/mad.htm, http://people.cohums.ohio-state.edu/denton2/courses/c503/kong.htm<br />
** "Hometown" http://www.coldbacon.com/writing/luxun-calltoarms.html#Home [in China: A Traveler's Literary Companion]<br />
<br />
= Living to see the Western literary epochs in Chinese time lapse. The Literary societies and May Fourth Romanticism =<br />
* Required reading: http://people.cohums.ohio-state.edu/denton2/publications/research/soc.htm<br />
* Further reading: Literary Societies of Republican China. Edited by KIRK A. DENTON and MICHEL HOCKX. Lanham, Md.: Lexington Books, 2008. ix, 591 pp.<br />
* Crescent Moon<br />
* Creation Society<br />
* Yu Dafu, "Sinking" 1921 [31-55], Xu Zhimo's poems 1925-1930 [499-501]<br />
* [[Guo Moruo (1892 -1978)]] [[User:DavidSmith|DavidSmith]] 21:40, 4 October 2012 (UTC)<br />
** Guo Moruo: “The hound of heaven” 1920<br />
<br />
= Literature of the 1930s =<br />
*[[Qian Zhongshu (1910 – 1998)]] [[User:Ericaangie]] 13:19, 5 October 2012 (UTC)<br />
** Self-selected excerpts from Qian Zhongshu, [[Fortress besieged]] --[[User:Sunflowertide|Sunflowertide]] ([[User talk:Sunflowertide|talk]]) 10:36, 1 June 2016 (UTC) 1947<br />
<br />
= Women writers =<br />
* Literature of the Megacities - The inner life of Shanghainese women writers with a focus on Zhang Ailing<br />
* [[Zhang Ailing(1920-1995)]] -- [[User:Mark]] 15:15, 25 May 2016 (UTC) <br />
* [[Ling Shuhua (1900-1990)]] [[User:Mattstrock|Mattstrock]] 21:22, 1 October 2012 (UTC)<br />
* Ling Shuhua, "The Night of Mid-Autumn Festival" [95-102];<br />
*[[ Xiao Hong (1911-1942)]] [[User:PhilipHarding|PhilipHarding]] 03:04, 9 October 2012 (UTC)<br />
* Xiao Hong, "Hands" [161-73]; "On the Oxcart" [in China: A Traveler's Literary Companion]<br />
* [[Zhang Jie (born 1937)]][[User:Ericaangie|Ericaangie]] 18:18, 4 December 2012 (UTC)<br />
<br />
= 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 =<br />
* Lu Xun’s ambiguous attitude towards taking physical action, towards the impact of literature on society and towards serving an ideology with literature.<br />
* Mao's claim of Lu Xun<br />
<br />
= The socialist era, Yan'an Literature and Rectification =<br />
* Mao Zedong, Poems, Talks in Yan'an: Literature and Art for the Masses and the Use of Traditional Forms, 1938, D1996:433-435<br />
* Ding Ling, "When I Was in Hsia Village" [132-46]<br />
* Mao Dun and "Spring Silkworms" [56-73]<br />
<br />
= Authors in transition: From Revolutionary Romanticism to Reform Literature =<br />
* [[Wang Meng]] by Maranda 21:45, 4 October 2012 (UTC)<br />
* Wang Meng, Long Live [the] Youth!<br />
* Wang Meng, Hard Porridge, trans. by Chen Zishan<br />
* [[Ba Jin]] [[User:PhilipHarding|PhilipHarding]] 21:43, 4 December 2012 (UTC): Family and the self-censorship in the later edition<br />
<br />
= On different paths: Bing Xin, Zhang Jie =<br />
* [[Bing Xin]]<br />
* Zhang Jie: Heavy Wings<br />
* [[Zhang Jie: Kid From The Forest]]<br />
<br />
= Chinese Modernism and the Aesthetic =<br />
* McDougall and Louie, 189-321; focus on pages 189-207<br />
* Shi Zhicun, "One Evening in the Rainy Season" [115-24]<br />
* Regional literature<br />
* Shen Congwen, "Xiaoxiao" [82-94]<br />
* "Meijin, Baozi, and the White Kid" [in China: A Traveler's Liteary Companion]<br />
<br />
= Post-Revolutionary Literature; Cultural Revolution =<br />
* "Red Detachment of Women" [Film Viewing]<br />
<br />
= Post-Mao Literature, Scars and realism, Roots literature =<br />
* McDougall and Louie, 325-448; focus on pages 325-44<br />
* Liu Heng, "Dogshit Food" [366-78]; scars literature<br />
* Yan Lianke, "Black Bristle, White Bristles" [in China: A Traveler's Literary Companion]<br />
* [[The Scar Literature After "the Cultural Revolution"]]<br />
<br />
= Master narrators Mo Yan, Yu Hua, Jia Pingwa, Wang Shuo =<br />
* [[Mo Yan]] 莫言 by Corinne B.<br />
: His story: "Old Gun" [in China: A Traveler's Literary Companion], novel 生死疲勞 "Life and Death are Wearing me out"<br />
* [[Yu Hua]], "Brothers" by David 06:48, 5 December 2012 (UTC)<br />
* Jia Pingwa<br />
* Wang Shuo<br />
<br />
= Contemporary Women authors =<br />
* Bi Shumin (毕淑敏), 女儿拳 Women’s boxing, 女心理师 The female psychologist<br />
<br />
= Avant-garde literature and post-socialist present =<br />
* Su Tong, "Escape" [445-54];<br />
* Yu Hua, "On the Road at Eighteen" [439-44]<br />
** modern Chinese literary life, such as publishing in journals and newspaper supplements, working within literary societies or associations, and dealing with censorship<br />
* Gu Cheng, Mang Ke, Bei Dao: Poets of the Obscure School since the 1980s<br />
<br />
= Taiwan literature =<br />
* Zhang Dachun, "Lucky Worries About His Country" (403-416)<br />
* Zhu Tianwen, "Fin de Siècle Splendor" [388-402]<br />
<br />
= Longing for something literature I: Historicizing, II: Tibet Exotism =<br />
* Yu Dan 于丹, 《论语》心得 Confucius in your heart, Yi Zhongtian (易中天)<br />
* Alai<br />
<br />
= Megacity Literature II - Peking and Vagabound Literature =<br />
* Xu Zechen (徐则臣), 跑步穿过中关村 Peking double quick<br />
* Liu Zhenyun (刘震云), 我叫刘跃 The pickpockets<br />
<br />
= Between cult and celebrity =<br />
* Cult author Guo Jingming<br />
** Book series "Bestseller"<br />
** Guo Jingming (郭敬明), 悲伤逆流成河 Cry me a sad river<br />
* Cult author Mian Mian<br />
** Mian Mian (棉棉), 声名狼籍 Panda Sex<br />
<br />
= Critical surrealist Han Han, young authors =<br />
* [[Han Han]] by Matt S.<br />
:Triple door<br />
:His Land<br />
<br />
= Blog, Web and Fan literature =<br />
* Blogs (blog literature?), from web to paper literature<br />
* Ai Weiwei, Han Han, Annie Baobei<br />
<br />
= Fan literature =<br />
* Web literature portal qidian.com</div>Sunflowertidehttps://bou.de/u/index.php?title=User:Sunflowertide&diff=93571User:Sunflowertide2016-06-01T10:42:51Z<p>Sunflowertide: </p>
<hr />
<div>Interested in studying modern Chinese literature!</div>Sunflowertidehttps://bou.de/u/index.php?title=Modern_Chinese_Literature&diff=93570Modern Chinese Literature2016-06-01T10:36:07Z<p>Sunflowertide: /* Literature of the 1930s */</p>
<hr />
<div>= Emergence of modern Chinese literature =<br />
<br />
= Historical and cultural background late Qing =<br />
* Genre development in China, scholars as authors, Mandarin & Butterfly School<br />
* Cao Xueqin, The Story of the Stone, also known as The Dream of the Red Chamber, 1791, transl. David Hawkes, John Minford<br />
<br />
= Encounter with the West, Westernization =<br />
* Wu Jianren, New Story of the Stone, utopian novel<br />
* Liang Qichao, Accounts of the future of new China, utopian fragment<br />
* Secondary Literature:<br />
** Wang, David Derwei. Fin-de-siecle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911. Stanford: Stanford UP, 1997.<br />
** 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.<br />
** 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<br />
** 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<br />
<br />
= May Fourth iconoclasm - Historical and cultural background May Fourth =<br />
* Liang Qichao, Foreword to the Publication of Political Novels in Translation, Denton 71-73<br />
* Hu Shi, Some modest proposals for the Reform of Literature, D1996:123-139<br />
<br />
= The role of translations and translators =<br />
* Yan Fu<br />
* Lin Shu<br />
* the earliest translations [unpublished ppt presentation_woesler.pptx, paper: woesler_early_translations_of_german_literature_into_chinese_final.doc, paper]<br />
* the selection process and intention of translations<br />
<br />
= Discovery of the alienated Self – World Literature =<br />
* McDougall and Louie, 1-185; focus on pages 1-30<br />
* [[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)<br />
** 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)<br />
** Further information: http://people.cohums.ohio-state.edu/denton2/courses/c503/mad.htm, http://people.cohums.ohio-state.edu/denton2/courses/c503/kong.htm<br />
** "Hometown" http://www.coldbacon.com/writing/luxun-calltoarms.html#Home [in China: A Traveler's Literary Companion]<br />
<br />
= Living to see the Western literary epochs in Chinese time lapse. The Literary societies and May Fourth Romanticism =<br />
* Required reading: http://people.cohums.ohio-state.edu/denton2/publications/research/soc.htm<br />
* Further reading: Literary Societies of Republican China. Edited by KIRK A. DENTON and MICHEL HOCKX. Lanham, Md.: Lexington Books, 2008. ix, 591 pp.<br />
* Crescent Moon<br />
* Creation Society<br />
* Yu Dafu, "Sinking" 1921 [31-55], Xu Zhimo's poems 1925-1930 [499-501]<br />
* [[Guo Moruo (1892 -1978)]] [[User:DavidSmith|DavidSmith]] 21:40, 4 October 2012 (UTC)<br />
** Guo Moruo: “The hound of heaven” 1920<br />
<br />
= Literature of the 1930s =<br />
*[[Qian Zhongshu (1910 – 1998)]] [[User:Ericaangie]] 13:19, 5 October 2012 (UTC)<br />
** Self-selected excerpts from Qian Zhongshu, [[Fortress besieged]] --[[User:Sunflowertide|Sunflowertide]] ([[User talk:Sunflowertide|talk]]) 10:36, 1 June 2016 (UTC) 1947<br />
<br />
= Women writers =<br />
* Literature of the Megacities - The inner life of Shanghainese women writers with a focus on Zhang Ailing<br />
* [[Zhang Ailing(1920-1995)]] -- [[User:Mark]] 15:15, 25 May 2016 (UTC) <br />
* [[Ling Shuhua (1900-1990)]] [[User:Mattstrock|Mattstrock]] 21:22, 1 October 2012 (UTC)<br />
* Ling Shuhua, "The Night of Mid-Autumn Festival" [95-102];<br />
*[[ Xiao Hong (1911-1942)]] [[User:PhilipHarding|PhilipHarding]] 03:04, 9 October 2012 (UTC)<br />
* Xiao Hong, "Hands" [161-73]; "On the Oxcart" [in China: A Traveler's Literary Companion]<br />
* [[Zhang Jie (born 1937)]][[User:Ericaangie|Ericaangie]] 18:18, 4 December 2012 (UTC)<br />
<br />
= 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 =<br />
* Lu Xun’s ambiguous attitude towards taking physical action, towards the impact of literature on society and towards serving an ideology with literature.<br />
* Mao's claim of Lu Xun<br />
<br />
= The socialist era, Yan'an Literature and Rectification =<br />
* Mao Zedong, Poems, Talks in Yan'an: Literature and Art for the Masses and the Use of Traditional Forms, 1938, D1996:433-435<br />
* Ding Ling, "When I Was in Hsia Village" [132-46]<br />
* Mao Dun and "Spring Silkworms" [56-73]<br />
<br />
= Authors in transition: From Revolutionary Romanticism to Reform Literature =<br />
* [[Wang Meng]] by Maranda 21:45, 4 October 2012 (UTC)<br />
* Wang Meng, Long Live [the] Youth!<br />
* Wang Meng, Hard Porridge, trans. by Chen Zishan<br />
* [[Ba Jin]] [[User:PhilipHarding|PhilipHarding]] 21:43, 4 December 2012 (UTC): Family and the self-censorship in the later edition<br />
<br />
= On different paths: Bing Xin, Zhang Jie =<br />
* [[Bing Xin]]<br />
* Zhang Jie: Heavy Wings<br />
* [[Zhang Jie: Kid From The Forest]]<br />
<br />
= Chinese Modernism and the Aesthetic =<br />
* McDougall and Louie, 189-321; focus on pages 189-207<br />
* Shi Zhicun, "One Evening in the Rainy Season" [115-24]<br />
* Regional literature<br />
* Shen Congwen, "Xiaoxiao" [82-94]<br />
* "Meijin, Baozi, and the White Kid" [in China: A Traveler's Liteary Companion]<br />
<br />
= Post-Revolutionary Literature; Cultural Revolution =<br />
* "Red Detachment of Women" [Film Viewing]<br />
<br />
= Post-Mao Literature, Scars and realism, Roots literature =<br />
* McDougall and Louie, 325-448; focus on pages 325-44<br />
* Liu Heng, "Dogshit Food" [366-78]; scars literature<br />
* Yan Lianke, "Black Bristle, White Bristles" [in China: A Traveler's Literary Companion]<br />
* [[The Scar Literature After "the Cultural Revolution"]]<br />
<br />
= Master narrators Mo Yan, Yu Hua, Jia Pingwa, Wang Shuo =<br />
* [[Mo Yan]] 莫言 by Corinne B.<br />
: His story: "Old Gun" [in China: A Traveler's Literary Companion], novel 生死疲勞 "Life and Death are Wearing me out"<br />
* [[Yu Hua]], "Brothers" by David 06:48, 5 December 2012 (UTC)<br />
* Jia Pingwa<br />
* Wang Shuo<br />
<br />
= Contemporary Women authors =<br />
* Bi Shumin (毕淑敏), 女儿拳 Women’s boxing, 女心理师 The female psychologist<br />
<br />
= Avant-garde literature and post-socialist present =<br />
* Su Tong, "Escape" [445-54];<br />
* Yu Hua, "On the Road at Eighteen" [439-44]<br />
** modern Chinese literary life, such as publishing in journals and newspaper supplements, working within literary societies or associations, and dealing with censorship<br />
* Gu Cheng, Mang Ke, Bei Dao: Poets of the Obscure School since the 1980s<br />
<br />
= Taiwan literature =<br />
* Zhang Dachun, "Lucky Worries About His Country" (403-416)<br />
* Zhu Tianwen, "Fin de Siècle Splendor" [388-402]<br />
<br />
= Longing for something literature I: Historicizing, II: Tibet Exotism =<br />
* Yu Dan 于丹, 《论语》心得 Confucius in your heart, Yi Zhongtian (易中天)<br />
* Alai<br />
<br />
= Megacity Literature II - Peking and Vagabound Literature =<br />
* Xu Zechen (徐则臣), 跑步穿过中关村 Peking double quick<br />
* Liu Zhenyun (刘震云), 我叫刘跃 The pickpockets<br />
<br />
= Between cult and celebrity =<br />
* Cult author Guo Jingming<br />
** Book series "Bestseller"<br />
** Guo Jingming (郭敬明), 悲伤逆流成河 Cry me a sad river<br />
* Cult author Mian Mian<br />
** Mian Mian (棉棉), 声名狼籍 Panda Sex<br />
<br />
= Critical surrealist Han Han, young authors =<br />
* [[Han Han]] by Matt S.<br />
:Triple door<br />
:His Land<br />
<br />
= Blog, Web and Fan literature =<br />
* Blogs (blog literature?), from web to paper literature<br />
* Ai Weiwei, Han Han, Annie Baobei<br />
<br />
= Fan literature =<br />
* Web literature portal qidian.com</div>Sunflowertidehttps://bou.de/u/index.php?title=Fortress_besieged&diff=93569Fortress besieged2016-06-01T10:34:39Z<p>Sunflowertide: </p>
<hr />
<div>[[Fortress Besieged]]<br />
Fortress Besieged is a Chinese novel by Qian Zhongshu. Published in 1947, Fortress Besieged is considered one of the most influential works of twentieth century Chinese literature. As a founding work of modern Chinese sarcastic novels, it has been honored as “The New Scholars”(新儒林外史). With the special writing style, Fortress Besieged implies the social background in the late 1930s and reflects the life of middle-class Chinese intellectuals at that time. It was made into a television series in 1990 and soon became more popular among the readers.<br />
<br />
<br />
== Summary ==<br />
<br />
<br />
=== '''Part 1''' (Chapters 1-4) ===<br />
<nowiki>The first part is based on the description of Fang Hongjian’s life in Shanghai and his hometown (some small place in Jiangnan area), especially focused on writing about Shanghai. In this part, the Fang Hongjian, the protagonist of the novel, had love affairs with Su Wenzhi, a lady from official family. Though Su was arrogant, spoiled and sentimental, she loved Fang deeply and entirely. However, Fang was not a decisive and practical young man, he flirted with several attractive women, which finally embarrassed Su. <br />
Centered on the two main characters in part 1, Qian Zhongshu also wrote different kinds of people living in the society: people who dealing with foreign transactions in Citicorp; Zhang jimin, who loves everyone calls him Jimmy; Dong Xiechuan, who are fashion outside but conventional inside; Chu Shenming, who studies sexual differences in philosophy; Cao Yuanlang, who is keen on neoclassicism; Zhao Xinmei, who mistakenly thought Fang his love enemy. These people’s characteristics and their desires in sexual love are all presented by the author.</nowiki> <br />
<br />
<br />
=== '''Part 2''' (Chapter5) ===<br />
<nowiki>This part functions as a connection of the novel. Fang Hongjian and Zhao Xinmei had rushed out of the cage of love and their relationship was changed from assumed enemies to true friends, going to work in Sanlv University in Pingcheng, Hunan Province. In this part, the author also provides new characters for next part: Li Meiting, Gu Erqian and Sun Roujia. These three went to the south with Fang and Zhao, and they formed a contemporary “Little Society”. The conflicts and jokes happened in “Little Society” constitute the great part of realistic writing of the novel.</nowiki><br />
<br />
<br />
=== '''Part 3''' (Chapters 6&7) ===<br />
<nowiki>This part mainly describes contradictions in Sanlv University, between the president and faculty directors, professors and students, and so on. Sanlv University soon became like a stage of fierce competition of jobs and love. The air was thick with conspiracy and rumors. Most people shown up in this part wore good-looking masks but actually had filthy mind. A few people, however, did not lose their conscience, like Fang and Zhao. If they had lived in a better society, they could have grown into outstanding talents in their fields.</nowiki><br />
<br />
<br />
=== '''Part 4''' (Chapters 8&9) ===<br />
<nowiki>Fang Hongjian and Sun Roujia got married on the way to Shanghai. Sadly, this was not an exciting combination because they always had quarrels about worries of their jobs and quality of life, especially after they settled down in Shanghai, their family members all intervened in the couple's quarrels, which made the situation more complicated. Finally, Fang's family broke up and he planned to ask Zhao Xinmei for some help.</nowiki><br />
<br />
<br />
== Introduction of the protagonist ==<br />
<br />
'''Fang Hongjian'''<br />
<nowiki>Gender: Male<br />
Birth Place: Wuxi, Jiangsu Province<br />
Education: <br />
As a child, he received Chinese traditional education from his father. <br />
Later on, he studied in a certain university at home. <br />
Afterwards, he went to London, Paris and Berlin for further study but finally failed to graduate, so he bought a faked Ph.D. and returned to China.<br />
Working Experiences:<br />
As a clerk in his titled father-in-law’s bank.<br />
As an associated professor in Sanlv University.<br />
As a clerk in a small news agency.<br />
Love Experiences:<br />
Engaged with Miss Zhou.<br />
Had an affair with Miss Bao in the returning ship.<br />
Pursued by Miss Su, but refused her.<br />
Fell in love with Tang Xiaofu, Miss Su’s cousin, and finally was dumped by her.<br />
Fell into Sun Roujia’s love trap, married and divorced.<br />
</nowiki><br />
<br />
== Meaning ==<br />
<br />
Qian Zhongshu wrote the following words in author’s preface,<br />
“In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I did not forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. The characters are of course fictitious, so those with a fondness for history need not trouble themselves trying to trace them out.” [1]<br />
<br />
<br />
== Themes ==<br />
<br />
<br />
=== '''Criticism on society''' ===<br />
<nowiki>By writing about the life experiences of Fang Hongjian, the author criticizes the corruption of government, the undeveloped inland rural areas and the confusion in academic world.</nowiki><br />
<br />
<br />
=== '''Criticism on culture''' ===<br />
<nowiki>By modelling the images of overseas students and intellectuals, the author points out that traditional Chinese culture plays an important role in the 1930s, though many intellectuals appear to admire foreign cultures and modern civilization. The inevitably cowardice, silliness and selfishness in them are all rooted in the backward part of traditional culture and the intellectuals seldom want to change themselves or change the culture.</nowiki><br />
<br />
<br />
<br />
== Style ==<br />
<br />
<br />
<br />
=== '''Language''' ===<br />
<nowiki>The whole novel is not noted for its plot, but for its humorous and wisdom words and sentences. The language used by Qian Zhongshu is apparently related to his scholar way of writing and it refers to the style of essay to some extent. Qian is good at combining humor with irony. The most famous sentence in this novel is that “Marriage is just like a fortress under besiege. People who outside the city want to break in and people who inside the city want to escape.” It indicates the paradox faced by young men and young women.</nowiki> <br />
<br />
<br />
=== '''Rhetoric''' ===<br />
<nowiki>There are hundreds of comparisons in the novel but readers will never feel cumbersome when reading. These comparisons help to model the characters, for example, the author compare Tang Xiaofu’s dimples to fruits and Wand Chuhou’s mustache to two commas. Besides, comparisons also underlined the themes in the novel because it can leave readers a deep impression with its humorous and vivid artistic effect.</nowiki><br />
<br />
<br />
=== '''Description''' ===<br />
<nowiki>Fortress Besieged is successful for its psychological description. In other words, Qian Zhongshu uses psychological description to push the development of the plot. As a result, psychological description undermines the direct narration. Instead, it focus on every little change of characters.</nowiki><br />
<br />
<br />
== Publication ==<br />
<br />
'''publishing history'''<br />
<nowiki>“The novel was published in Shanghai in 1947. The second edition was published 1948. The third edition in 1949. After the Communist Revolution, the book was not re-printed in mainland China again until 1980. In the meantime, it was also banned in Taiwan because of its satire of the Nationalist government.” [2]</nowiki><br />
<br />
<br />
== References ==<br />
<br />
<nowiki>[1] Zhongshu, Qian. Translated by Jeanne Kelly and Nathan K. Mao. ''Fortress Besieged''. Bloomington: Indiana University Press, 1980<br />
<br />
[2] https://en.wikipedia.org/wiki/Fortress_Besieged</nowiki></div>Sunflowertidehttps://bou.de/u/index.php?title=Fortress_besieged&diff=93568Fortress besieged2016-06-01T09:12:05Z<p>Sunflowertide: </p>
<hr />
<div>[[Fortress Besieged]]<br />
Fortress Besieged is a Chinese novel by Qian Zhongshu. Published in 1947, Fortress Besieged is considered one of the most influential works of twentieth century Chinese literature. As a founding work of modern Chinese sarcastic novels, it has been honored as “The New Scholars”(新儒林外史). With the special writing style, Fortress Besieged implies the social background in the late 1930s and reflects the life of middle-class Chinese intellectuals at that time. It was made into a television series in 1990 and soon became more popular among the readers.<br />
<br />
<br />
== Summary ==<br />
<br />
'''Part 1''' (Chapters 1-4):<nowiki>The first part is based on the description of Fang Hongjian’s life in Shanghai and his hometown (some small place in Jiangnan area), especially focused on writing about Shanghai. In this part, the Fang Hongjian, the protagonist of the novel, had love affairs with Su Wenzhi, a lady from official family. Though Su was arrogant, spoiled and sentimental, she loved Fang deeply and entirely. However, Fang was not a decisive and practical young man, he flirted with several attractive women, which finally embarrassed Su. <br />
Centered on the two main characters in part 1, Qian Zhongshu also wrote different kinds of people living in the society: people who dealing with foreign transactions in Citicorp; Zhang jimin, who loves everyone calls him Jimmy; Dong Xiechuan, who are fashion outside but conventional inside; Chu Shenming, who studies sexual differences in philosophy; Cao Yuanlang, who is keen on neoclassicism; Zhao Xinmei, who mistakenly thought Fang his love enemy. These people’s characteristics and their desires in sexual love are all presented by the author.</nowiki> <br />
<br />
'''Part 2''' (Chapter5):<nowiki>This part functions as a connection of the novel. Fang Hongjian and Zhao Xinmei had rushed out of the cage of love and their relationship was changed from assumed enemies to true friends, going to work in Sanlv University in Pingcheng, Hunan Province. In this part, the author also provides new characters for next part: Li Meiting, Gu Erqian and Sun Roujia. These three went to the south with Fang and Zhao, and they formed a contemporary “Little Society”. The conflicts and jokes happened in “Little Society” constitute the great part of realistic writing of the novel.</nowiki><br />
<br />
'''Part 3''' (Chapters 6&7):<nowiki>This part mainly describes contradictions in Sanlv University, between the president and faculty directors, professors and students, and so on. Sanlv University soon became like a stage of fierce competition of jobs and love. The air was thick with conspiracy and rumors. Most people shown up in this part wore good-looking masks but actually had filthy mind. A few people, however, did not lose their conscience, like Fang and Zhao. If they had lived in a better society, they could have grown into outstanding talents in their fields.</nowiki><br />
<br />
'''Part 4''' (Chapters 8&9):<nowiki>Fang Hongjian and Sun Roujia got married on the way to Shanghai. Sadly, this was not an exciting combination because they always had quarrels about worries of their jobs and quality of life, especially after they settled down in Shanghai, their family members all intervened in the couple's quarrels, which made the situation more complicated. Finally, Fang's family broke up and he planned to ask Zhao Xinmei for some help.</nowiki><br />
<br />
<br />
== Introduction of the protagonist ==<br />
<br />
'''Fang Hongjian'''<br />
<nowiki>Gender: Male<br />
Birth Place: Wuxi, Jiangsu Province<br />
Education: As a child, he received Chinese traditional education from his father. Later on, he studied in a certain university at home. Afterwards, he went to London, Paris and Berlin for further study but finally failed to graduate, so he bought a faked Ph.D. and returned to China.<br />
Working Experiences:<br />
As a clerk in his titled father-in-law’s bank.<br />
As an associated professor in Sanlv University.<br />
As a clerk in a small news agency.<br />
Love Experiences:<br />
Engaged with Miss Zhou.<br />
Had an affair with Miss Bao in the returning ship.<br />
Pursued by Miss Su, but refused her.<br />
Fell in love with Tang Xiaofu, Miss Su’s cousin, and finally was dumped by her.<br />
Fell into Sun Roujia’s love trap, married and divorced.<br />
</nowiki><br />
<br />
== Meaning ==<br />
<br />
Qian Zhongshu wrote the following words in author’s preface,<br />
“In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I did not forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. The characters are of course fictitious, so those with a fondness for history need not trouble themselves trying to trace them out.” [1]<br />
<br />
<br />
== Themes ==<br />
<br />
'''Criticism on society''':<nowiki>By writing about the life experiences of Fang Hongjian, the author criticizes the corruption of government, the undeveloped inland rural areas and the confusion in academic world.</nowiki><br />
<br />
'''Criticism on culture''':<nowiki>By modelling the images of overseas students and intellectuals, the author points out that traditional Chinese culture plays an important role in the 1930s, though many intellectuals appear to admire foreign cultures and modern civilization. The inevitably cowardice, silliness and selfishness in them are all rooted in the backward part of traditional culture and the intellectuals seldom want to change themselves or change the culture.</nowiki><br />
<br />
<br />
<br />
== Style ==<br />
<br />
<br />
'''Language''':<nowiki>The whole novel is not noted for its plot, but for its humorous and wisdom words and sentences. The language used by Qian Zhongshu is apparently related to his scholar way of writing and it refers to the style of essay to some extent. Qian is good at combining humor with irony. The most famous sentence in this novel is that “Marriage is just like a fortress under besiege. People who outside the city want to break in and people who inside the city want to escape.” It indicates the paradox faced by young men and young women.</nowiki> <br />
<br />
'''Rhetoric''':<nowiki>There are hundreds of comparisons in the novel but readers will never feel cumbersome when reading. These comparisons help to model the characters, for example, the author compare Tang Xiaofu’s dimples to fruits and Wand Chuhou’s mustache to two commas. Besides, comparisons also underlined the themes in the novel because it can leave readers a deep impression with its humorous and vivid artistic effect.</nowiki><br />
<br />
'''Description''':<nowiki>Fortress Besieged is successful for its psychological description. In other words, Qian Zhongshu uses psychological description to push the development of the plot. As a result, psychological description undermines the direct narration. Instead, it focus on every little change of characters.</nowiki><br />
<br />
<br />
== Publication ==<br />
<br />
'''publishing history''': <nowiki>“The novel was published in Shanghai in 1947. The second edition was published 1948. The third edition in 1949. After the Communist Revolution, the book was not re-printed in mainland China again until 1980. In the meantime, it was also banned in Taiwan because of its satire of the Nationalist government.” [2]</nowiki><br />
<br />
<br />
== References ==<br />
<br />
<nowiki>'''[1]''' Zhongshu, Qian. Translated by Jeanne Kelly and Nathan K. Mao. ''Fortress Besieged''. Bloomington: Indiana University Press, 1980<br />
'''[2]''' https://en.wikipedia.org/wiki/Fortress_Besieged</nowiki></div>Sunflowertidehttps://bou.de/u/index.php?title=Fortress_besieged&diff=93567Fortress besieged2016-06-01T09:09:46Z<p>Sunflowertide: </p>
<hr />
<div>[[Fortress Besieged]]<br />
Fortress Besieged is a Chinese novel by Qian Zhongshu. Published in 1947, Fortress Besieged is considered one of the most influential works of twentieth century Chinese literature. As a founding work of modern Chinese sarcastic novels, it has been honored as “The New Scholars”(新儒林外史). With the special writing style, Fortress Besieged implies the social background in the late 1930s and reflects the life of middle-class Chinese intellectuals at that time. It was made into a television series in 1990 and soon became more popular among the readers.<br />
<br />
<br />
== Summary ==<br />
<br />
'''Part 1''' (Chapters 1-4):<nowiki>The first part is based on the description of Fang Hongjian’s life in Shanghai and his hometown (some small place in Jiangnan area), especially focused on writing about Shanghai. In this part, the Fang Hongjian, the protagonist of the novel, had love affairs with Su Wenzhi, a lady from official family. Though Su was arrogant, spoiled and sentimental, she loved Fang deeply and entirely. However, Fang was not a decisive and practical young man, he flirted with several attractive women, which finally embarrassed Su. <br />
Centered on the two main characters in part 1, Qian Zhongshu also wrote different kinds of people living in the society: people who dealing with foreign transactions in Citicorp; Zhang jimin, who loves everyone calls him Jimmy; Dong Xiechuan, who are fashion outside but conventional inside; Chu Shenming, who studies sexual differences in philosophy; Cao Yuanlang, who is keen on neoclassicism; Zhao Xinmei, who mistakenly thought Fang his love enemy. These people’s characteristics and their desires in sexual love are all presented by the author.</nowiki> <br />
<br />
'''Part 2''' (Chapter5):<nowiki>This part functions as a connection of the novel. Fang Hongjian and Zhao Xinmei had rushed out of the cage of love and their relationship was changed from assumed enemies to true friends, going to work in Sanlv University in Pingcheng, Hunan Province. In this part, the author also provides new characters for next part: Li Meiting, Gu Erqian and Sun Roujia. These three went to the south with Fang and Zhao, and they formed a contemporary “Little Society”. The conflicts and jokes happened in “Little Society” constitute the great part of realistic writing of the novel.</nowiki><br />
<br />
'''Part 3''' (Chapters 6&7):<nowiki>This part mainly describes contradictions in Sanlv University, between the president and faculty directors, professors and students, and so on. Sanlv University soon became like a stage of fierce competition of jobs and love. The air was thick with conspiracy and rumors. Most people shown up in this part wore good-looking masks but actually had filthy mind. A few people, however, did not lose their conscience, like Fang and Zhao. If they had lived in a better society, they could have grown into outstanding talents in their fields.</nowiki><br />
<br />
'''Part 4''' (Chapters 8&9):<nowiki>Fang Hongjian and Sun Roujia got married on the way to Shanghai. Sadly, this was not an exciting combination because they always had quarrels about worries of their jobs and quality of life, especially after they settled down in Shanghai, their family members all intervened in the couple's quarrels, which made the situation more complicated. Finally, Fang's family broke up and he planned to ask Zhao Xinmei for some help.</nowiki><br />
<br />
<br />
== Introduction of the protagonist ==<br />
<br />
'''Fang Hongjian'''<br />
<nowiki>Gender: Male<br />
Birth Place: Wuxi, Jiangsu Province<br />
Education: As a child, he received Chinese traditional education from his father. Later on, he studied in a certain university at home. Afterwards, he went to London, Paris and Berlin for further study but finally failed to graduate, so he bought a faked Ph.D. and returned to China.<br />
Working Experiences:<br />
As a clerk in his titled father-in-law’s bank.<br />
As an associated professor in Sanlv University.<br />
As a clerk in a small news agency.<br />
Love Experiences:<br />
Engaged with Miss Zhou.<br />
Had an affair with Miss Bao in the returning ship.<br />
Pursued by Miss Su, but refused her.<br />
Fell in love with Tang Xiaofu, Miss Su’s cousin, and finally was dumped by her.<br />
Fell into Sun Roujia’s love trap, married and divorced.<br />
</nowiki><br />
<br />
== Meaning ==<br />
<br />
Qian Zhongshu wrote the following words in author’s preface,<br />
“In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I did not forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. The characters are of course fictitious, so those with a fondness for history need not trouble themselves trying to trace them out.” [1]<br />
<br />
<br />
== Themes ==<br />
<br />
'''Criticism on society''':<nowiki>By writing about the life experiences of Fang Hongjian, the author criticizes the corruption of government, the undeveloped inland rural areas and the confusion in academic world.</nowiki><br />
<br />
'''Criticism on culture''':<nowiki>By modelling the images of overseas students and intellectuals, the author points out that traditional Chinese culture plays an important role in the 1930s, though many intellectuals appear to admire foreign cultures and modern civilization. The inevitably cowardice, silliness and selfishness in them are all rooted in the backward part of traditional culture and the intellectuals seldom want to change themselves or change the culture.</nowiki><br />
<br />
<br />
<br />
== Style ==<br />
<br />
<br />
'''Language'''<br />
<nowiki>The whole novel is not noted for its plot, but for its humorous and wisdom words and sentences. The language used by Qian Zhongshu is apparently related to his scholar way of writing and it refers to the style of essay to some extent. Qian is good at combining humor with irony. The most famous sentence in this novel is that “Marriage is just like a fortress under besiege. People who outside the city want to break in and people who inside the city want to escape.” It indicates the paradox faced by young men and young women.</nowiki> <br />
<br />
'''Rhetoric'''<br />
<nowiki>There are hundreds of comparisons in the novel but readers will never feel cumbersome when reading. These comparisons help to model the characters, for example, the author compare Tang Xiaofu’s dimples to fruits and Wand Chuhou’s mustache to two commas. Besides, comparisons also underlined the themes in the novel because it can leave readers a deep impression with its humorous and vivid artistic effect.</nowiki><br />
<br />
'''Description'''<br />
<nowiki>Fortress Besieged is successful for its psychological description. In other words, Qian Zhongshu uses psychological description to push the development of the plot. As a result, psychological description undermines the direct narration. Instead, it focus on every little change of characters.</nowiki><br />
<br />
<br />
== Publication ==<br />
<br />
<nowiki>“The novel was published in Shanghai in 1947. The second edition was published 1948. The third edition in 1949. After the Communist Revolution, the book was not re-printed in mainland China again until 1980. In the meantime, it was also banned in Taiwan because of its satire of the Nationalist government.” [2]</nowiki><br />
<br />
<br />
== References ==<br />
<br />
<nowiki>[1] Zhongshu, Qian. Translated by Jeanne Kelly and Nathan K. Mao. ''Fortress Besieged''. Bloomington: Indiana University Press, 1980<br />
[2] https://en.wikipedia.org/wiki/Fortress_Besieged</nowiki></div>Sunflowertidehttps://bou.de/u/index.php?title=Fortress_besieged&diff=93566Fortress besieged2016-06-01T09:05:25Z<p>Sunflowertide: </p>
<hr />
<div>[[Fortress Besieged]]<br />
Fortress Besieged is a Chinese novel by Qian Zhongshu. Published in 1947, Fortress Besieged is considered one of the most influential works of twentieth century Chinese literature. As a founding work of modern Chinese sarcastic novels, it has been honored as “The New Scholars”(新儒林外史). With the special writing style, Fortress Besieged implies the social background in the late 1930s and reflects the life of middle-class Chinese intellectuals at that time. It was made into a television series in 1990 and soon became more popular among the readers.<br />
<br />
<br />
== Summary ==<br />
<br />
'''Part 1''' (Chapters 1-4)<br />
<nowiki>The first part is based on the description of Fang Hongjian’s life in Shanghai and his hometown (some small place in Jiangnan area), especially focused on writing about Shanghai. In this part, the Fang Hongjian, the protagonist of the novel, had love affairs with Su Wenzhi, a lady from official family. Though Su was arrogant, spoiled and sentimental, she loved Fang deeply and entirely. However, Fang was not a decisive and practical young man, he flirted with several attractive women, which finally embarrassed Su. <br />
Centered on the two main characters in part 1, Qian Zhongshu also wrote different kinds of people living in the society: people who dealing with foreign transactions in Citicorp; Zhang jimin, who loves everyone calls him Jimmy; Dong Xiechuan, who are fashion outside but conventional inside; Chu Shenming, who studies sexual differences in philosophy; Cao Yuanlang, who is keen on neoclassicism; Zhao Xinmei, who mistakenly thought Fang his love enemy. These people’s characteristics and their desires in sexual love are all presented by the author.</nowiki> <br />
<br />
'''Part 2''' (Chapter5)<br />
<nowiki>This part functions as a connection of the novel. Fang Hongjian and Zhao Xinmei had rushed out of the cage of love and their relationship was changed from assumed enemies to true friends, going to work in Sanlv University in Pingcheng, Hunan Province. In this part, the author also provides new characters for next part: Li Meiting, Gu Erqian and Sun Roujia. These three went to the south with Fang and Zhao, and they formed a contemporary “Little Society”. The conflicts and jokes happened in “Little Society” constitute the great part of realistic writing of the novel.</nowiki><br />
<br />
'''Part 3''' (Chapters 6&7)<br />
<nowiki>This part mainly describes contradictions in Sanlv University, between the president and faculty directors, professors and students, and so on. Sanlv University soon became like a stage of fierce competition of jobs and love. The air was thick with conspiracy and rumors. Most people shown up in this part wore good-looking masks but actually had filthy mind. A few people, however, did not lose their conscience, like Fang and Zhao. If they had lived in a better society, they could have grown into outstanding talents in their fields.</nowiki><br />
<br />
'''Part 4''' (Chapters 8&9)<br />
<nowiki>Fang Hongjian and Sun Roujia got married on the way to Shanghai. Sadly, this was not an exciting combination because they always had quarrels about worries of their jobs and quality of life, especially after they settled down in Shanghai, their family members all intervened in the couple's quarrels, which made the situation more complicated. Finally, Fang's family broke up and he planned to ask Zhao Xinmei for some help.</nowiki><br />
<br />
<br />
== Introduction of the protagonist ==<br />
<br />
'''Fang Hongjian'''<br />
<nowiki>Gender: Male<br />
Birth Place: Wuxi, Jiangsu Province<br />
Education: As a child, he received Chinese traditional education from his father. Later on, he studied in a certain university at home. Afterwards, he went to London, Paris and Berlin for further study but finally failed to graduate, so he bought a faked Ph.D. and returned to China.<br />
Working Experiences:<br />
As a clerk in his titled father-in-law’s bank.<br />
As an associated professor in Sanlv University.<br />
As a clerk in a small news agency.<br />
Love Experiences:<br />
Engaged with Miss Zhou.<br />
Had an affair with Miss Bao in the returning ship.<br />
Pursued by Miss Su, but refused her.<br />
Fell in love with Tang Xiaofu, Miss Su’s cousin, and finally was dumped by her.<br />
Fell into Sun Roujia’s love trap, married and divorced.<br />
</nowiki><br />
<br />
== Meaning ==<br />
<br />
Qian Zhongshu wrote the following words in author’s preface,<br />
“In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I did not forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. The characters are of course fictitious, so those with a fondness for history need not trouble themselves trying to trace them out.” [1]<br />
<br />
<br />
== Themes ==<br />
<br />
'''Criticism on society'''<br />
<nowiki>By writing about the life experiences of Fang Hongjian, the author criticizes the corruption of government, the undeveloped inland rural areas and the confusion in academic world.</nowiki><br />
'''Criticism on culture'''<br />
<nowiki>By modelling the images of overseas students and intellectuals, the author points out that traditional Chinese culture plays an important role in the 1930s, though many intellectuals appear to admire foreign cultures and modern civilization. The inevitably cowardice, silliness and selfishness in them are all rooted in the backward part of traditional culture and the intellectuals seldom want to change themselves or change the culture.</nowiki><br />
<br />
<br />
<br />
== Style ==<br />
<br />
<br />
'''Language'''<br />
<nowiki>The whole novel is not noted for its plot, but for its humorous and wisdom words and sentences. The language used by Qian Zhongshu is apparently related to his scholar way of writing and it refers to the style of essay to some extent. Qian is good at combining humor with irony. The most famous sentence in this novel is that “Marriage is just like a fortress under besiege. People who outside the city want to break in and people who inside the city want to escape.” It indicates the paradox faced by young men and young women.</nowiki> <br />
<br />
'''Rhetoric'''<br />
<nowiki>There are hundreds of comparisons in the novel but readers will never feel cumbersome when reading. These comparisons help to model the characters, for example, the author compare Tang Xiaofu’s dimples to fruits and Wand Chuhou’s mustache to two commas. Besides, comparisons also underlined the themes in the novel because it can leave readers a deep impression with its humorous and vivid artistic effect.</nowiki><br />
<br />
'''Description'''<br />
<nowiki>Fortress Besieged is successful for its psychological description. In other words, Qian Zhongshu uses psychological description to push the development of the plot. As a result, psychological description undermines the direct narration. Instead, it focus on every little change of characters.</nowiki><br />
<br />
<br />
== Publication ==<br />
<br />
<nowiki>“The novel was published in Shanghai in 1947. The second edition was published 1948. The third edition in 1949. After the Communist Revolution, the book was not re-printed in mainland China again until 1980. In the meantime, it was also banned in Taiwan because of its satire of the Nationalist government.” [2]</nowiki><br />
<br />
<br />
== References ==<br />
<br />
<nowiki>[1] Zhongshu, Qian. Translated by Jeanne Kelly and Nathan K. Mao. ''Fortress Besieged''. Bloomington: Indiana University Press, 1980<br />
[2] https://en.wikipedia.org/wiki/Fortress_Besieged</nowiki></div>Sunflowertidehttps://bou.de/u/index.php?title=Fortress_besieged&diff=93565Fortress besieged2016-06-01T09:00:08Z<p>Sunflowertide: </p>
<hr />
<div>[[Fortress Besieged]]<br />
Fortress Besieged is a Chinese novel by Qian Zhongshu. Published in 1947, Fortress Besieged is considered one of the most influential works of twentieth century Chinese literature. As a founding work of modern Chinese sarcastic novels, it has been honored as “The New Scholars”(新儒林外史). With the special writing style, Fortress Besieged implies the social background in the late 1930s and reflects the life of middle-class Chinese intellectuals at that time. It was made into a television series in 1990 and soon became more popular among the readers.<br />
<br />
<br />
== Summary ==<br />
<br />
'''Part 1''' (Chapters 1-4)<br />
The first part is based on the description of Fang Hongjian’s life in Shanghai and his hometown (some small place in Jiangnan area), especially focused on writing about Shanghai. In this part, the Fang Hongjian, the protagonist of the novel, had love affairs with Su Wenzhi, a lady from official family. Though Su was arrogant, spoiled and sentimental, she loved Fang deeply and entirely. However, Fang was not a decisive and practical young man, he flirted with several attractive women, which finally embarrassed Su. <br />
Centered on the two main characters in part 1, Qian Zhongshu also wrote different kinds of people living in the society: people who dealing with foreign transactions in Citicorp; Zhang jimin, who loves everyone calls him Jimmy; Dong Xiechuan, who are fashion outside but conventional inside; Chu Shenming, who studies sexual differences in philosophy; Cao Yuanlang, who is keen on neoclassicism; Zhao Xinmei, who mistakenly thought Fang his love enemy. These people’s characteristics and their desires in sexual love are all presented by the author. <br />
<br />
'''Part 2''' (Chapter5)<br />
This part functions as a connection of the novel. Fang Hongjian and Zhao Xinmei had rushed out of the cage of love and their relationship was changed from assumed enemies to true friends, going to work in Sanlv University in Pingcheng, Hunan Province. In this part, the author also provides new characters for next part: Li Meiting, Gu Erqian and Sun Roujia. These three went to the south with Fang and Zhao, and they formed a contemporary “Little Society”. The conflicts and jokes happened in “Little Society” constitute the great part of realistic writing of the novel.<br />
<br />
'''Part 3''' (Chapters 6&7)<br />
This part mainly describes contradictions in Sanlv University, between the president and faculty directors, professors and students, and so on. Sanlv University soon became like a stage of fierce competition of jobs and love. The air was thick with conspiracy and rumors. Most people shown up in this part wore good-looking masks but actually had filthy mind. A few people, however, did not lose their conscience, like Fang and Zhao. If they had lived in a better society, they could have grown into outstanding talents in their fields.<br />
<br />
'''Part 4''' (Chapters 8&9)<br />
Fang Hongjian and Sun Roujia got married on the way to Shanghai. Sadly, this was not an exciting combination because they always had quarrels about worries of their jobs and quality of life, especially after they settled down in Shanghai, their family members all intervened in the couple's quarrels, which made the situation more complicated. Finally, Fang's family broke up and he planned to ask Zhao Xinmei for some help.<br />
<br />
<br />
== Introduction of the protagonist ==<br />
<br />
'''Fang Hongjian'''<br />
Gender: Male<br />
Birth Place: Wuxi, Jiangsu Province<br />
Education: As a child, he received Chinese traditional education from his father. Later on, he studied in a certain university at home. Afterwards, he went to London, Paris and Berlin for further study but finally failed to graduate, so he bought a faked Ph.D. and returned to China.<br />
Working Experiences:<br />
As a clerk in his titled father-in-law’s bank.<br />
As an associated professor in Sanlv University.<br />
As a clerk in a small news agency.<br />
Love Experiences:<br />
Engaged with Miss Zhou.<br />
Had an affair with Miss Bao in the returning ship.<br />
Pursued by Miss Su, but refused her.<br />
Fell in love with Tang Xiaofu, Miss Su’s cousin, and finally was dumped by her.<br />
Fell into Sun Roujia’s love trap, married and divorced.<br />
<br />
<br />
== Meaning ==<br />
<br />
Qian Zhongshu wrote the following words in author’s preface,<br />
“In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I did not forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. The characters are of course fictitious, so those with a fondness for history need not trouble themselves trying to trace them out.” [1]<br />
<br />
<br />
== Themes ==<br />
<br />
'''Criticism on society'''<br />
By writing about the life experiences of Fang Hongjian, the author criticizes the corruption of government, the undeveloped inland rural areas and the confusion in academic world.<br />
'''Criticism on culture'''<br />
By modelling the images of overseas students and intellectuals, the author points out that traditional Chinese culture plays an important role in the 1930s, though many intellectuals appear to admire foreign cultures and modern civilization. The inevitably cowardice, silliness and selfishness in them are all rooted in the backward part of traditional culture and the intellectuals seldom want to change themselves or change the culture.<br />
<br />
<br />
<br />
== Style ==<br />
<br />
<br />
'''Language'''<br />
The whole novel is not noted for its plot, but for its humorous and wisdom words and sentences. The language used by Qian Zhongshu is apparently related to his scholar way of writing and it refers to the style of essay to some extent. Qian is good at combining humor with irony. The most famous sentence in this novel is that “Marriage is just like a fortress under besiege. People who outside the city want to break in and people who inside the city want to escape.” It indicates the paradox faced by young men and young women. <br />
<br />
'''Rhetoric'''<br />
There are hundreds of comparisons in the novel but readers will never feel cumbersome when reading. These comparisons help to model the characters, for example, the author compare Tang Xiaofu’s dimples to fruits and Wand Chuhou’s mustache to two commas. Besides, comparisons also underlined the themes in the novel because it can leave readers a deep impression with its humorous and vivid artistic effect.<br />
<br />
'''Description'''<br />
Fortress Besieged is successful for its psychological description. In other words, Qian Zhongshu uses psychological description to push the development of the plot. As a result, psychological description undermines the direct narration. Instead, it focus on every little change of characters.<br />
<br />
<br />
== Publication ==<br />
<br />
“The novel was published in Shanghai in 1947. The second edition was published 1948. The third edition in 1949. After the Communist Revolution, the book was not re-printed in mainland China again until 1980. In the meantime, it was also banned in Taiwan because of its satire of the Nationalist government.” [2]<br />
<br />
<br />
== References ==<br />
<br />
[1] Zhongshu, Qian. Translated by Jeanne Kelly and Nathan K. Mao. ''Fortress Besieged''. Bloomington: Indiana University Press, 1980<br />
[2] https://en.wikipedia.org/wiki/Fortress_Besieged</div>Sunflowertidehttps://bou.de/u/index.php?title=Fortress_besieged&diff=93564Fortress besieged2016-06-01T08:57:39Z<p>Sunflowertide: </p>
<hr />
<div>[[Fortress Besieged]]<br />
Fortress Besieged is a Chinese novel by Qian Zhongshu. Published in 1947, Fortress Besieged is considered one of the most influential works of twentieth century Chinese literature. As a founding work of modern Chinese sarcastic novels, it has been honored as “The New Scholars”(新儒林外史). With the special writing style, Fortress Besieged implies the social background in the late 1930s and reflects the life of middle-class Chinese intellectuals at that time. It was made into a television series in 1990 and soon became more popular among the readers.<br />
<br />
<br />
== Summary ==<br />
<br />
'''Part 1''' (Chapters 1-4)<br />
The first part is based on the description of Fang Hongjian’s life in Shanghai and his hometown (some small place in Jiangnan area), especially focused on writing about Shanghai. In this part, the Fang Hongjian, the protagonist of the novel, had love affairs with Su Wenzhi, a lady from official family. Though Su was arrogant, spoiled and sentimental, she loved Fang deeply and entirely. However, Fang was not a decisive and practical young man, he flirted with several attractive women, which finally embarrassed Su. <br />
Centered on the two main characters in part 1, Qian Zhongshu also wrote different kinds of people living in the society: people who dealing with foreign transactions in Citicorp; Zhang jimin, who loves everyone calls him Jimmy; Dong Xiechuan, who are fashion outside but conventional inside; Chu Shenming, who studies sexual differences in philosophy; Cao Yuanlang, who is keen on neoclassicism; Zhao Xinmei, who mistakenly thought Fang his love enemy. These people’s characteristics and their desires in sexual love are all presented by the author. <br />
<br />
'''Part 2''' (Chapter5)<br />
This part functions as a connection of the novel. Fang Hongjian and Zhao Xinmei had rushed out of the cage of love and their relationship was changed from assumed enemies to true friends, going to work in Sanlv University in Pingcheng, Hunan Province. In this part, the author also provides new characters for next part: Li Meiting, Gu Erqian and Sun Roujia. These three went to the south with Fang and Zhao, and they formed a contemporary “Little Society”. The conflicts and jokes happened in “Little Society” constitute the great part of realistic writing of the novel.<br />
<br />
'''Part 3''' (Chapters 6&7)<br />
This part mainly describes contradictions in Sanlv University, between the president and faculty directors, professors and students, and so on. Sanlv University soon became like a stage of fierce competition of jobs and love. The air was thick with conspiracy and rumors. Most people shown up in this part wore good-looking masks but actually had filthy mind. A few people, however, did not lose their conscience, like Fang and Zhao. If they had lived in a better society, they could have grown into outstanding talents in their fields.<br />
<br />
'''Part 4''' (Chapters 8&9)<br />
Fang Hongjian and Sun Roujia got married on the way to Shanghai. Sadly, this was not an exciting combination because they always had quarrels about worries of their jobs and quality of life, especially after they settled down in Shanghai, their family members all intervened in the couple's quarrels, which made the situation more complicated. Finally, Fang's family broke up and he planned to ask Zhao Xinmei for some help.<br />
<br />
<br />
== Introduction of the protagonist ==<br />
<br />
'''Fang Hongjian'''<br />
Gender: Male<br />
Birth Place: Wuxi, Jiangsu Province<br />
Education: As a child, he received Chinese traditional education from his father. Later on, he studied in a certain university at home. Afterwards, he went to London, Paris and Berlin for further study but finally failed to graduate, so he bought a faked Ph.D. and returned to China.<br />
Working Experiences:<br />
As a clerk in his titled father-in-law’s bank.<br />
As an associated professor in Sanlv University.<br />
As a clerk in a small news agency.<br />
Love Experiences:<br />
Engaged with Miss Zhou.<br />
Had an affair with Miss Bao in the returning ship.<br />
Pursued by Miss Su, but refused her.<br />
Fell in love with Tang Xiaofu, Miss Su’s cousin, and finally was dumped by her.<br />
Fell into Sun Roujia’s love trap, married and divorced.<br />
<br />
<br />
== Meaning ==<br />
<br />
Qian Zhongshu wrote the following words in author’s preface,<br />
“In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I did not forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. The characters are of course fictitious, so those with a fondness for history need not trouble themselves trying to trace them out.” [1]<br />
<br />
<br />
== Themes ==<br />
<br />
Criticism on society<br />
By writing about the life experiences of Fang Hongjian, the author criticizes the corruption of government, the undeveloped inland rural areas and the confusion in academic world.<br />
Criticism on culture<br />
By modelling the images of overseas students and intellectuals, the author points out that traditional Chinese culture plays an important role in the 1930s, though many intellectuals appear to admire foreign cultures and modern civilization. The inevitably cowardice, silliness and selfishness in them are all rooted in the backward part of traditional culture and the intellectuals seldom want to change themselves or change the culture.<br />
<br />
<br />
<br />
== Style ==<br />
<br />
<br />
'''Language'''<br />
The whole novel is not noted for its plot, but for its humorous and wisdom words and sentences. The language used by Qian Zhongshu is apparently related to his scholar way of writing and it refers to the style of essay to some extent. Qian is good at combining humor with irony. The most famous sentence in this novel is that “Marriage is just like a fortress under besiege. People who outside the city want to break in and people who inside the city want to escape.” It indicates the paradox faced by young men and young women. <br />
<br />
'''Rhetoric'''<br />
There are hundreds of comparisons in the novel but readers will never feel cumbersome when reading. These comparisons help to model the characters, for example, the author compare Tang Xiaofu’s dimples to fruits and Wand Chuhou’s mustache to two commas. Besides, comparisons also underlined the themes in the novel because it can leave readers a deep impression with its humorous and vivid artistic effect.<br />
<br />
'''Description'''<br />
Fortress Besieged is successful for its psychological description. In other words, Qian Zhongshu uses psychological description to push the development of the plot. As a result, psychological description undermines the direct narration. Instead, it focus on every little change of characters.<br />
<br />
<br />
== Publication ==<br />
<br />
“The novel was published in Shanghai in 1947. The second edition was published 1948. The third edition in 1949. After the Communist Revolution, the book was not re-printed in mainland China again until 1980. In the meantime, it was also banned in Taiwan because of its satire of the Nationalist government.” [2]<br />
<br />
<br />
== References ==<br />
<br />
[1] Zhongshu, Qian. Translated by Jeanne Kelly and Nathan K. Mao. ''Fortress Besieged''. Bloomington: Indiana University Press, 1980<br />
[2] https://en.wikipedia.org/wiki/Fortress_Besieged</div>Sunflowertidehttps://bou.de/u/index.php?title=Fortress_besieged&diff=93563Fortress besieged2016-06-01T08:54:38Z<p>Sunflowertide: Created page with "Fortress Besieged Fortress Besieged is a Chinese novel by Qian Zhongshu. Published in 1947, Fortress Besieged is considered one of the most influential works of twentieth..."</p>
<hr />
<div>[[Fortress Besieged]]<br />
Fortress Besieged is a Chinese novel by Qian Zhongshu. Published in 1947, Fortress Besieged is considered one of the most influential works of twentieth century Chinese literature. As a founding work of modern Chinese sarcastic novels, it has been honored as “The New Scholars”(新儒林外史). With the special writing style, Fortress Besieged implies the social background in the late 1930s and reflects the life of middle-class Chinese intellectuals at that time. It was made into a television series in 1990 and soon became more popular among the readers.<br />
<br />
<br />
== Summary ==<br />
<br />
'''Part 1''' (Chapters 1-4)<br />
The first part is based on the description of Fang Hongjian’s life in Shanghai and his hometown (some small place in Jiangnan area), especially focused on writing about Shanghai. In this part, the Fang Hongjian, the protagonist of the novel, had love affairs with Su Wenzhi, a lady from official family. Though Su was arrogant, spoiled and sentimental, she loved Fang deeply and entirely. However, Fang was not a decisive and practical young man, he flirted with several attractive women, which finally embarrassed Su. <br />
Centered on the two main characters in part 1, Qian Zhongshu also wrote different kinds of people living in the society: people who dealing with foreign transactions in Citicorp; Zhang jimin, who loves everyone calls him Jimmy; Dong Xiechuan, who are fashion outside but conventional inside; Chu Shenming, who studies sexual differences in philosophy; Cao Yuanlang, who is keen on neoclassicism; Zhao Xinmei, who mistakenly thought Fang his love enemy. These people’s characteristics and their desires in sexual love are all presented by the author. <br />
<br />
'''Part 2''' (Chapter5)<br />
This part functions as a connection of the novel. Fang Hongjian and Zhao Xinmei had rushed out of the cage of love and their relationship was changed from assumed enemies to true friends, going to work in Sanlv University in Pingcheng, Hunan Province. In this part, the author also provides new characters for next part: Li Meiting, Gu Erqian and Sun Roujia. These three went to the south with Fang and Zhao, and they formed a contemporary “Little Society”. The conflicts and jokes happened in “Little Society” constitute the great part of realistic writing of the novel.<br />
<br />
'''Part 3''' (Chapters 6&7)<br />
This part mainly describes contradictions in Sanlv University, between the president and faculty directors, professors and students, and so on. Sanlv University soon became like a stage of fierce competition of jobs and love. The air was thick with conspiracy and rumors. Most people shown up in this part wore good-looking masks but actually had filthy mind. A few people, however, did not lose their conscience, like Fang and Zhao. If they had lived in a better society, they could have grown into outstanding talents in their fields.<br />
<br />
'''Part 4''' (Chapters 8&9)<br />
Fang Hongjian and Sun Roujia got married on the way to Shanghai. Sadly, this was not an exciting combination because they always had quarrels about worries of their jobs and quality of life, especially after they settled down in Shanghai, their family members all intervened in the couple's quarrels, which made the situation more complicated. Finally, Fang's family broke up and he planned to ask Zhao Xinmei for some help.<br />
<br />
<br />
== Introduction of the protagonist ==<br />
<br />
'''Fang Hongjian'''<br />
Gender: Male<br />
Birth Place: Wuxi, Jiangsu Province<br />
Education: As a child, he received Chinese traditional education from his father. Later on, he studied in a certain university at home. Afterwards, he went to London, Paris and Berlin for further study but finally failed to graduate, so he bought a faked Ph.D. and returned to China.<br />
Working Experiences:<br />
As a clerk in his titled father-in-law’s bank.<br />
As an associated professor in Sanlv University.<br />
As a clerk in a small news agency.<br />
Love Experiences:<br />
Engaged with Miss Zhou.<br />
Had an affair with Miss Bao in the returning ship.<br />
Pursued by Miss Su, but refused her.<br />
Fell in love with Tang Xiaofu, Miss Su’s cousin, and finally was dumped by her.<br />
Fell into Sun Roujia’s love trap, married and divorced.<br />
<br />
<br />
== Meaning ==<br />
<br />
Qian Zhongshu wrote the following words in author’s preface,<br />
“In this book I intended to write about a certain segment of society and a certain kind of people in modern China. In writing about these people, I did not forget they are human beings, still human beings with the basic nature of hairless, two-legged animals. The characters are of course fictitious, so those with a fondness for history need not trouble themselves trying to trace them out.” [1]<br />
<br />
<br />
== Themes ==<br />
<br />
Criticism on society<br />
By writing about the life experiences of Fang Hongjian, the author criticizes the corruption of government, the undeveloped inland rural areas and the confusion in academic world.<br />
Criticism on culture<br />
By modelling the images of overseas students and intellectuals, the author points out that traditional Chinese culture plays an important role in the 1930s, though many intellectuals appear to admire foreign cultures and modern civilization. The inevitably cowardice, silliness and selfishness in them are all rooted in the backward part of traditional culture and the intellectuals seldom want to change themselves or change the culture.<br />
<br />
<br />
<br />
== Style ==<br />
<br />
<br />
'''Language'''<br />
The whole novel is not noted for its plot, but for its humorous and wisdom words and sentences. The language used by Qian Zhongshu is apparently related to his scholar way of writing and it refers to the style of essay to some extent. Qian is good at combining humor with irony. The most famous sentence in this novel is that “Marriage is just like a fortress under besiege. People who outside the city want to break in and people who inside the city want to escape.” It indicates the paradox faced by young men and young women. <br />
<br />
'''Rhetoric'''<br />
There are hundreds of comparisons in the novel but readers will never feel cumbersome when reading. These comparisons help to model the characters, for example, the author compare Tang Xiaofu’s dimples to fruits and Wand Chuhou’s mustache to two commas. Besides, comparisons also underlined the themes in the novel because it can leave readers a deep impression with its humorous and vivid artistic effect.<br />
<br />
'''Description'''<br />
Fortress Besieged is successful for its psychological description. In other words, Qian Zhongshu uses psychological description to push the development of the plot. As a result, psychological description undermines the direct narration. Instead, it focus on every little change of characters.<br />
<br />
'''Publication'''<br />
“The novel was published in Shanghai in 1947. The second edition was published 1948. The third edition in 1949. After the Communist Revolution, the book was not re-printed in mainland China again until 1980. In the meantime, it was also banned in Taiwan because of its satire of the Nationalist government.” [2]<br />
<br />
'''References'''<br />
[1] Zhongshu, Qian. Translated by Jeanne Kelly and Nathan K. Mao. ''Fortress Besieged''. Bloomington: Indiana University Press, 1980<br />
[2] https://en.wikipedia.org/wiki/Fortress_Besieged</div>Sunflowertidehttps://bou.de/u/index.php?title=Modern_Chinese_Literature&diff=93562Modern Chinese Literature2016-06-01T08:50:23Z<p>Sunflowertide: /* Literature of the 1930s */</p>
<hr />
<div>= Emergence of modern Chinese literature =<br />
<br />
= Historical and cultural background late Qing =<br />
* Genre development in China, scholars as authors, Mandarin & Butterfly School<br />
* Cao Xueqin, The Story of the Stone, also known as The Dream of the Red Chamber, 1791, transl. David Hawkes, John Minford<br />
<br />
= Encounter with the West, Westernization =<br />
* Wu Jianren, New Story of the Stone, utopian novel<br />
* Liang Qichao, Accounts of the future of new China, utopian fragment<br />
* Secondary Literature:<br />
** Wang, David Derwei. Fin-de-siecle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911. Stanford: Stanford UP, 1997.<br />
** 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.<br />
** 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<br />
** 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<br />
<br />
= May Fourth iconoclasm - Historical and cultural background May Fourth =<br />
* Liang Qichao, Foreword to the Publication of Political Novels in Translation, Denton 71-73<br />
* Hu Shi, Some modest proposals for the Reform of Literature, D1996:123-139<br />
<br />
= The role of translations and translators =<br />
* Yan Fu<br />
* Lin Shu<br />
* the earliest translations [unpublished ppt presentation_woesler.pptx, paper: woesler_early_translations_of_german_literature_into_chinese_final.doc, paper]<br />
* the selection process and intention of translations<br />
<br />
= Discovery of the alienated Self – World Literature =<br />
* McDougall and Louie, 1-185; focus on pages 1-30<br />
* [[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)<br />
** 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)<br />
** Further information: http://people.cohums.ohio-state.edu/denton2/courses/c503/mad.htm, http://people.cohums.ohio-state.edu/denton2/courses/c503/kong.htm<br />
** "Hometown" http://www.coldbacon.com/writing/luxun-calltoarms.html#Home [in China: A Traveler's Literary Companion]<br />
<br />
= Living to see the Western literary epochs in Chinese time lapse. The Literary societies and May Fourth Romanticism =<br />
* Required reading: http://people.cohums.ohio-state.edu/denton2/publications/research/soc.htm<br />
* Further reading: Literary Societies of Republican China. Edited by KIRK A. DENTON and MICHEL HOCKX. Lanham, Md.: Lexington Books, 2008. ix, 591 pp.<br />
* Crescent Moon<br />
* Creation Society<br />
* Yu Dafu, "Sinking" 1921 [31-55], Xu Zhimo's poems 1925-1930 [499-501]<br />
* [[Guo Moruo (1892 -1978)]] [[User:DavidSmith|DavidSmith]] 21:40, 4 October 2012 (UTC)<br />
** Guo Moruo: “The hound of heaven” 1920<br />
<br />
= Literature of the 1930s =<br />
*[[Qian Zhongshu (1910 – 1998)]] [[User:Ericaangie]] 13:19, 5 October 2012 (UTC)<br />
** Self-selected excerpts from Qian Zhongshu, [[Fortress besieged]] [[User:Sunflowertide]] 1947<br />
<br />
= Women writers =<br />
* Literature of the Megacities - The inner life of Shanghainese women writers with a focus on Zhang Ailing<br />
* [[Zhang Ailing(1920-1995)]] -- [[User:Mark]] 15:15, 25 May 2016 (UTC) <br />
* [[Ling Shuhua (1900-1990)]] [[User:Mattstrock|Mattstrock]] 21:22, 1 October 2012 (UTC)<br />
* Ling Shuhua, "The Night of Mid-Autumn Festival" [95-102];<br />
*[[ Xiao Hong (1911-1942)]] [[User:PhilipHarding|PhilipHarding]] 03:04, 9 October 2012 (UTC)<br />
* Xiao Hong, "Hands" [161-73]; "On the Oxcart" [in China: A Traveler's Literary Companion]<br />
* [[Zhang Jie (born 1937)]][[User:Ericaangie|Ericaangie]] 18:18, 4 December 2012 (UTC)<br />
<br />
= 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 =<br />
* Lu Xun’s ambiguous attitude towards taking physical action, towards the impact of literature on society and towards serving an ideology with literature.<br />
* Mao's claim of Lu Xun<br />
<br />
= The socialist era, Yan'an Literature and Rectification =<br />
* Mao Zedong, Poems, Talks in Yan'an: Literature and Art for the Masses and the Use of Traditional Forms, 1938, D1996:433-435<br />
* Ding Ling, "When I Was in Hsia Village" [132-46]<br />
* Mao Dun and "Spring Silkworms" [56-73]<br />
<br />
= Authors in transition: From Revolutionary Romanticism to Reform Literature =<br />
* [[Wang Meng]] by Maranda 21:45, 4 October 2012 (UTC)<br />
* Wang Meng, Long Live [the] Youth!<br />
* Wang Meng, Hard Porridge, trans. by Chen Zishan<br />
* [[Ba Jin]] [[User:PhilipHarding|PhilipHarding]] 21:43, 4 December 2012 (UTC): Family and the self-censorship in the later edition<br />
<br />
= On different paths: Bing Xin, Zhang Jie =<br />
* [[Bing Xin]]<br />
* Zhang Jie: Heavy Wings<br />
* [[Zhang Jie: Kid From The Forest]]<br />
<br />
= Chinese Modernism and the Aesthetic =<br />
* McDougall and Louie, 189-321; focus on pages 189-207<br />
* Shi Zhicun, "One Evening in the Rainy Season" [115-24]<br />
* Regional literature<br />
* Shen Congwen, "Xiaoxiao" [82-94]<br />
* "Meijin, Baozi, and the White Kid" [in China: A Traveler's Liteary Companion]<br />
<br />
= Post-Revolutionary Literature; Cultural Revolution =<br />
* "Red Detachment of Women" [Film Viewing]<br />
<br />
= Post-Mao Literature, Scars and realism, Roots literature =<br />
* McDougall and Louie, 325-448; focus on pages 325-44<br />
* Liu Heng, "Dogshit Food" [366-78]; scars literature<br />
* Yan Lianke, "Black Bristle, White Bristles" [in China: A Traveler's Literary Companion]<br />
* [[The Scar Literature After "the Cultural Revolution"]]<br />
<br />
= Master narrators Mo Yan, Yu Hua, Jia Pingwa, Wang Shuo =<br />
* [[Mo Yan]] 莫言 by Corinne B.<br />
: His story: "Old Gun" [in China: A Traveler's Literary Companion], novel 生死疲勞 "Life and Death are Wearing me out"<br />
* [[Yu Hua]], "Brothers" by David 06:48, 5 December 2012 (UTC)<br />
* Jia Pingwa<br />
* Wang Shuo<br />
<br />
= Contemporary Women authors =<br />
* Bi Shumin (毕淑敏), 女儿拳 Women’s boxing, 女心理师 The female psychologist<br />
<br />
= Avant-garde literature and post-socialist present =<br />
* Su Tong, "Escape" [445-54];<br />
* Yu Hua, "On the Road at Eighteen" [439-44]<br />
** modern Chinese literary life, such as publishing in journals and newspaper supplements, working within literary societies or associations, and dealing with censorship<br />
* Gu Cheng, Mang Ke, Bei Dao: Poets of the Obscure School since the 1980s<br />
<br />
= Taiwan literature =<br />
* Zhang Dachun, "Lucky Worries About His Country" (403-416)<br />
* Zhu Tianwen, "Fin de Siècle Splendor" [388-402]<br />
<br />
= Longing for something literature I: Historicizing, II: Tibet Exotism =<br />
* Yu Dan 于丹, 《论语》心得 Confucius in your heart, Yi Zhongtian (易中天)<br />
* Alai<br />
<br />
= Megacity Literature II - Peking and Vagabound Literature =<br />
* Xu Zechen (徐则臣), 跑步穿过中关村 Peking double quick<br />
* Liu Zhenyun (刘震云), 我叫刘跃 The pickpockets<br />
<br />
= Between cult and celebrity =<br />
* Cult author Guo Jingming<br />
** Book series "Bestseller"<br />
** Guo Jingming (郭敬明), 悲伤逆流成河 Cry me a sad river<br />
* Cult author Mian Mian<br />
** Mian Mian (棉棉), 声名狼籍 Panda Sex<br />
<br />
= Critical surrealist Han Han, young authors =<br />
* [[Han Han]] by Matt S.<br />
:Triple door<br />
:His Land<br />
<br />
= Blog, Web and Fan literature =<br />
* Blogs (blog literature?), from web to paper literature<br />
* Ai Weiwei, Han Han, Annie Baobei<br />
<br />
= Fan literature =<br />
* Web literature portal qidian.com</div>Sunflowertide