La « liquidité » du concept de littérature chinoise dans le contexte mondial, qui a fait l'objet de discussions approfondies au cours de la dernière décennie (Rao 2011, Tsu et Wang 2010, Shih 2011, Shih, Tsai et Bernards 2013, Pesaro et Zhang 2017, nous permet d'établir d'innombrables liens entre les différentes « articulations » de cette littérature, présentant divers aspects qui peuvent être analysés et comparés au-delà des frontières territoriales. Les flux migratoires ont sans nul doute modifié la configuration de la littérature chinoise contemporaine, laquelle se présente maintenant comme une mosaïque hétérogène, offrant une extraordinaire complexité identitaire et linguistique. Dans cette contribution, on se concentrera sur une phase particulière de l'expérience du migrant : le retour au foyer. La transformation urbaine qu'a connue la Chine au cours des dernières décennies a eu l'effet d'un choc sur de nombreux migrants qui avaient quitté le pays natal puis y sont revenus, de façon temporaire ou définitive. Ce choc trouve son origine non seulement dans les changements massifs survenus dans les lieux de leur jeunesse, mais également dans la profonde mutation de leur propre identité. Le processus d'hybridation culturelle dote les individus d'une nouvelle panoplie d'outils leur permettant d'explorer et redécouvrir la terre où se trouvent leurs racines originelles. Le Complexe de Di, roman de Dai Sijie paru en 2003, où transparaît l'expérience singulière vécue par l'auteur, est un exemple significatif de ce phénomène de « déplacement vers son propre pays ».Dai Sijie est né en Chine en 1954 d'une famille originaire de Putian, dans la province du Fujian. Pendant la Révolution culturelle, il est envoyé en rééducation dans les montagnes du Sichuan, où il vit de 1971 à 1974. À la mort de Mao Zedong (1976), il entreprend des études d'histoire de l'art à l'université. En 1984, ayant obtenu une bourse, il s'installe en France, à Bordeaux d'abord, puis à Paris. Il se spécialise dans l'art du cinéma et entame sa carrière dans l'industrie cinématographique, sur laquelle il va concentrer l'essentiel de son énergie créative (Codeluppi 2020 : 38-39). En tant que Le complexe de la complexité : déplacement multidimensionnel dans l'oeuvre de ...
In the case of migrant writers, the representation of the female body can be considered the most intimate expression of individuality, as well as an expression of the dislocation that often transpires from their stories. In the context of contemporary Chinese literature, which has now become transnational, Xiaolu Guo is a representative example of féminité migrante. Raised in China, she emigrated to the UK as an adult, and relies mainly on the English language to codify her literary creativity. This study focuses on the analysis of the relationship between space and language, and between body and translation. It will explore two novels by Xiaolu Guo through a linguistic/comparative approach and a spatial analysis of the literary text.
Refusal has always been an essential gesture. […] The few who made history are those who said no.Pier Paolo Pasolini 1Resistance, despite the traditional political connotation of the word, manifests itself in many domains, among which literature can be regarded as one of the most prolific. Nevertheless, political power and literature have always been interrelated, and when a Government exiles its own citizens because of their literary dissidence, fiction can become an even more powerful weapon. This is the case of Ma Jian 馬建 (b. 1953) and Ha Jin 哈金 (b. 1956), Chinese authors currently exiled in the United Kingdom and the United States respectively. Their personal protests against the Motherland took different shapes, being expressed by means of either a strong accusation or a silent refusal. These authors' works were compared and juxtaposed by Belinda Kong 2 and Peter Damgaard, 3 mainly with reference to their novels dealing with the Tian'anmen Square protests of 1989: Ma Jian's Beijing Coma 4 and Ha Jin's The Crazed. 5 These studies served as a background for the following investigation, which envisages a comparison between the authors' different interpretations and fictional representations of resistance. This inquiry was conducted on Ma Jian's The Dark Road 6 and on Ha Jin's A Free Life: 7 two stories that develop following their protagonists' conflict against their own country, reflecting the complexity of an interiorised struggle between the individual and power.Moving from Foucault's reflections on power and resistance, the authors' different ways to resist to the Motherland were analysed and compared as they were expressed through their literary creation. The concept of anti-authority struggle 8 was applied here at two levels, following the two interpretations of authority understood as political power,
Why are there so many modern Chinese novels in which, as Cindy Carter put it so nicely in an earlier post, 'faeces play a starring role'? Any reader of contemporary Chinese fiction will tell you that you don't have to look very far to find a joke about bodily functions. But at the same time humour is rarely discussed in academic writing on Chinese literature, let alone humour that centres around the toilet. The more I thought about it, the more it seemed a shame, which is why I decided to tackle the subject myself in a recent essay for the MA in Modern Chinese Literature at SOAS, University of London, focusing on the work of two authors much discussed on the pages of Paper Republic, Han Dong and Zhu Wen. Although there may be much to be said about the scatological aspect to the Chinese sense of humour, I start this essay from the viewpoint that jokes about shit are not simply a question of culture. Nor is it, as the authors might have us believe, merely a form of 'plain-speaking'. Instead, two things seemed important. The first is that cleanliness, as the anthropologist Mary Douglas argued, is often equated with progress and order. The second is that progress and order are two inflated ideals that Han and Zhu seem to enjoy puncturing. The 'Glorious Banishments' of the Cultural Revolution, the shining modernity of postsocialist China, the elevated role of literatureall these sacred cows of Chinese society are happily ridiculed by both authors by associating them with bodily functions. Focusing on two particular scenes within What is Garbage, What is Love ( http://paper-republic.org/books/shenmeshi-laji-shenme-shi-ai/), and Striking Root (http://paper-republic.org/books/zhagen/), this essay explores how Han and Zhu's excremental visions are a means both of challenging China's social and political bodies, and an expression of their own iconoclastic power within the literary field. The significanceand potential powerof scatological humour, to me, lies in its subversive quality, in its transgression of the boundaries of order and good taste.
Os autores migrantes que escrevem em idiomas estrangeiros são um dos efeitos mais tangíveis da globalização da literatura chinesa contemporânea em curso hoje em dia. Dai Sijie, escritor e realizador migrante chinês, escolheu o Francês para expressar sua narração da China. Em breve elese tornou um exemplo de como a presença de várias culturas dentro de um indivíduo pode se tornar uma auto-hibridação. Seu primeiro romance Balzac et la Petite Tailleuse chinoise (2000) baseia-se na experiência de Dai Sijie de banimento e conta a história de dois jovens cuja reeducação foifortemente influenciada por Romances ocidentais proibidos na China. Mas o que acontece quando um texto literário nascido como um trabalho translingual e transcultural é traduzido de volta no seu idioma (e cultura) de origem? A mediação se realiza duas vezes ou é anulada? Como esse processo influencia a representação do autor? O presente artigo responderá a essas perguntas através de uma análise comparativa entre a história e suas versões em chinês (publicado no P.R.C. e Taiwan), concentrando-se nas (re) traduções linguísticas e culturais. A “febre da literatura mundial” enfatiza a força centrífuga que empurra a literatura da China para o Ocidente, mas a globalização é um movimento circular que às vezes implica a volta para casa de uma literaridade chinesa “à prova deoeste”.
The growing concern for environmental issues has fuelled the rise of climate fiction [cli-fi], a subgenre of science fiction dealing with climate change that has become increasingly popular in the last few decades. In China, significant examples can be found, among others, in Chen Qiufan’s works, which address these problems from different points of view. In his short story “Mai” 霾 [The Smog Society], the author explores the relationship between human beings and nature from an unconventional perspective, overturning the traditional conception of the relationship between the environment and the human mind. This article aims to analyse Chen Qiufan’s short story as an attempt to subvert the causal relationship between pollution and happiness, outlining his interpretation of the urban Anthropocene. The analysis will set out from what Glenn Albrecht has defined as “psychoterratic emotional concepts”, namely earth-related mental health conditions, to explore the author’s view of man-made climate change. In particular, it will explore the depiction of the climatic emergency in the Chinese urban context and its consequences on the protagonist’s psychology and emotions, as well as on urban social life.
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