Literary Decorum or Carnivalistic Grotesque: Literature in the People's Republic of China after 50 Years

McDougall, Bonnie S.

doi:10.1017/s0305741000003465

Cited by 4 publications

(3 citation statements)

References 8 publications

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“…Un développement différent émerge à partir des années 1980 dans la littérature post-moderniste et avant-gardiste chinoise. L'Histoire y demeure une présence essentielle (Wu Liang 2000, 126;Wang Ning 2013, 299), mais elle est abordée à travers les filtres de la parodie, du grotesque et de la déformation carnavalesque du corps (Wang Ban 1997;McDougall 1999;Kinkley 2015). Un trait caractérisant cette production littéraire est la tendance méta-narrative à réfléchir explicitement sur la construction de la mémoire, de l'Histoire et de l'écriture, et sur leurs limites: un trait qui appartient au postmodernisme littéraire, et qui prend le nom de "métafiction historiographique".…”

Section: Obsession De L'histoire Et Avant-garde Dans La Littérature C...unclassified

Crise de l’Histoire, crise de la représentation: “La Mémoire collective” de Zhang Kangkang et autres exemples de “métafiction historiographique” dans la littérature chinoise d’avant-garde

Pezza

2022

Lingue Culture Mediazioni - Languages Cultures Mediation (LCM Journal)

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If history has been defined as a crucial element to construct national identity, what happens when its reliability is contested? In China, despite having been considered for a long time as an instrument of propaganda, narrative’s relative freedom of re-elaboration, as Dutrait (1989) suggested, has covered an essential function in the process of reflection on historiographic processes. The paper considers some literary works belonging to what Linda Hutcheon (1988) defined as “historiographical metafiction”: novels and short stories by a variety of different authors, all characterized by intertextuality and an explicit reflection on the process of writing literature and history, as well as by a questioning of the meaning and truthfulness of memory. It proposes an overview on some of those texts, and a specific focus on Zhang Kangkang’s short story “Collective Memory” (Jiti jiyi 集体记忆, 2000), showing how, by suggesting a reshaping of the “imaginary mirror” that history is in China today, they open questions on the topics of historical traumatism, memory, and writing.

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Section: Obsession De L'histoire Et Avant-garde Dans La Littérature C...unclassified

Crise de l’Histoire, crise de la représentation: “La Mémoire collective” de Zhang Kangkang et autres exemples de “métafiction historiographique” dans la littérature chinoise d’avant-garde

Pezza

2022

Lingue Culture Mediazioni - Languages Cultures Mediation (LCM Journal)

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“…7 The immediate origins of women's privacy writing was the "women's semi-autobiographical fiction" (nüxing ban zizhuan ti xiaoshuo) initiated by Lin Bai's Yi ge ren de zhanzheng (At war with oneself) in 1994. Coding became once again a crucial part of the literary game.…”

Section: Women's Privacy Fictionmentioning

confidence: 99%

“…The topic of sexual affect and the solaces (or terrors) of private life was left largely to women. 7 The immediate origins of women's privacy writing was the "women's semi-autobiographical fiction" (nüxing ban zizhuan ti xiaoshuo) initiated by Lin Bai's Yi ge ren de zhanzheng (At war with oneself) in 1994. 8 Lin Bai's timing was impeccable: the obloquy suffered by previous autobiographical writing by women, such as Yu Luojin's Yige dongtian de tonghua (A winter's tale) in 1982, was being subverted by the tacit encouragement given to all forms of nonpoliticized writing after 1989.…”

Section: Women's Privacy Fictionmentioning

confidence: 99%

Discourse on Privacy by Women Writers in Late Twentieth-Century China

McDougall

2005

China Information

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There is a common belief in China and the West that "the Chinese" have no concept of privacy, although there is a well-established tradition of private property and privacy values in China. In the twentieth century, especially in the PRC, rhetoric on the public good prevailed over individualism and subjectivity, but both privacy and private property have been reevaluated in the post-Mao era. In the 1990s, writing about private life became associated with fiction and journalism by women, and privacy became publishers' shorthand for sexual revelations. By the end of the century, interest in the public at large showed a wider appreciation of the values and functions of privacy. At the same time, the status of private property in the constitution and in law was restored to precommunist respectability. This article analyzes the meanings and function of privacy in writing by women in the 1990s and comments on gender aspects of privacy as well as the relationships between authors, publishers, and readers in the late twentieth century.The association of women and privacy, and especially writing by women in genres thought to be private, has a long history in China and in other countries. 1 In traditional societies, women who worked outside the home (farming, marketing, prostitution) were seen to be driven by necessity, since women's domain was within. However, this domain was the private possession of the males in the family: women had no privacy within the family unit. Only in societies where there are laws and prosecutions to prevent domestic abuse and marital rape do women have rights of privacy that exclude the dominant male figures in the household. In other words, women were objects of male privacy and not themselves free privacy agents. The association of women and privacy has been imposed on women by male domination in both public and private realms. china INFORMATION

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Chinese online fiction: taste publics, entertainment, andCandle in the Tomb

Lugg

2011

Chinese Journal of Communication

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This paper examines the growing cultural trend of Chinese online fiction. Using Gans's twin concepts of taste culture and taste public, it looks at online fiction as a product of two taste cultures evident on the Chinese Web. The paper then explores the growing appeal of online fiction for consumers and producers (or readers and authors) in relation to two key issues: are there important differences between online fiction and print fiction? Is the participatory nature of online fiction leading to a reinvigoration of literary creativity in the Chinese-speaking world? The relationship between the consumer and the producer of Chinese online fiction can also be explored in terms of an attention economy, and the evolving market for this type of fiction provides an excellent example of how such an economy functions. The attention economy encourages competition for the attention of readers and consequently ensures that the values of the taste public consuming this fiction strongly dictate its content and its continued improvement as a form of literary production.

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Literary Decorum or Carnivalistic Grotesque: Literature in the People's Republic of China after 50 Years

Cited by 4 publications

References 8 publications

Crise de l’Histoire, crise de la représentation: “La Mémoire collective” de Zhang Kangkang et autres exemples de “métafiction historiographique” dans la littérature chinoise d’avant-garde

Crise de l’Histoire, crise de la représentation: “La Mémoire collective” de Zhang Kangkang et autres exemples de “métafiction historiographique” dans la littérature chinoise d’avant-garde

Discourse on Privacy by Women Writers in Late Twentieth-Century China

Chinese online fiction: taste publics, entertainment, andCandle in the Tomb

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