The Novel in Seventeenth- Century China

Hegel, Robert E.

doi:10.7312/hege93874

Cited by 51 publications

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“…176-88), Chen (1993, pp. 2-32), Hanan (1981), Hegel (1981), Idema (1974), and Shang (2014, pp. 258-62).…”

Section: The Saints Trilogymentioning

confidence: 99%

Writing and Worship in Deng Zhimo’s Saints Trilogy

Ganany

2022

Religions

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Around the turn of the seventeenth century, the prolific writer-editor Deng Zhimo produced three illustrated books narrating the lives of Lü Dongbin (The Flying Sword), Xu Xun (The Iron Tree), and Sa Shoujian (The Enchanted Date). This article focuses on the textual hybridity of Deng Zhimo’s hagiographic Saints Trilogy and argues that it offers encyclopedic, practical, and entertaining guidebooks for worshipping the three immortals and pursuing Daoist attainment. The cultic lore woven into the fabric of Deng’s Saints Trilogy reflects the important contribution of authors and publishers to popular reverence, highlighting the close interplay between “literature” and “religion” in late-imperial China.

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“…176-88), Chen (1993, pp. 2-32), Hanan (1981), Hegel (1981), Idema (1974), and Shang (2014, pp. 258-62).…”

Section: The Saints Trilogymentioning

confidence: 99%

Writing and Worship in Deng Zhimo’s Saints Trilogy

Ganany

2022

Religions

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“…79 The other, found in "The Golden Eel" (TY 20), is even more revealing of Feng's dissatisfaction with an attitude associated with the conventional storyteller-a lack of moral concern or ethical standards in judging characters' behavior in their stories: "Storytellers all change their judgments with the success or failure [of the characters]" (shuohua de dou yi cheng bai lun shi) . 80 However, endorsements of the storyteller-narrator's disquisitions can also be found in the marginal comments. In "The Three Brothers" (HY 2) for example, the narrator's comparison of the Han dynasty recommendation system with the examination system of the Ming wins the commentator's passionate approval.…”

Section: Ventriloquism Through a Storyteller I I\mentioning

confidence: 99%

“…On the contrary, it shows that Feng as commentator knew very well the range of values the conventional narrator represented in the Sanyan collections; he knew exactly where to agree with him and where to disagree. In other words, Feng was not only fully aware of the whole spectrum of the storyteller's values, but also of his own; not only was he cognizant of the differences between 80 Jingshi tongyan (1958), 20.12a. For an English translation of 7"F 20, see Anne E. McLaren, trans., "The Calamitous Golden Eel," in her The Chinese Femme Fatah: Stories from the Ming Period (Broadway, NSW: Wild Peony, 1994), pp.…”

Section: Ventriloquism Through a Storyteller I I\mentioning

confidence: 99%

“…Significantly, frustrated holders of the lower degrees and aspirants thereto figured prominently among the leadership of rebel bands and revolutionary forces throughout the Ming and Qing. 80 From the limited biographical information available, we know that when Feng Menglong finished publishing the last of the Sanyan collections in 1627 at the age of fifty-three, he was still holding a degree of the lowest level, with no official appointment anywhere on the horizon. 81 Like most scholars of his time, his "highest ambition was to hold office himself'; 82 and like them, he must have experienced a great deal of frustration and emotional suffering for his repeated failures.…”

Section: In His Records Of the Grand Historian/mentioning

confidence: 99%

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Appropriation and Representation

2020

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3. Ventriloquism through the Companion Story 79 4. Ventriloquism through Women Characters 99 Feng Menglong's Attitude Toward Women. Femininity and Yin. Sources of Literati Trans-gender Expression. Gendered Expressions of Anxiety in the Sanyan. Female Superiority in the Sanyan. Feng Menglong's "Beauty and Flower" Strategy. Women as Zhiyin. Conclusion 153 Appendix: Sanyan Stories in This Work 157 Works Cited 161 Glossary-Index wenxue, 1987). Facsimile reprints of Ming editions of Gujin xiaoshuo, Jingshi tongyan, and Xingshi hengyan, edited by Li Tianyi (Taipei: Shijie shuji, 1958-59) are used only for citing the extra-textual commentary, which does not appear in the more recent editions. Source materials that I compare with the stories edited and published by Feng Menglong come, in the main, from Tan Zhengbi's Sanyan Liangpai ziliao (Shanghai: Shanghai guji, 1980). All citations from the above works are my own translations unless otherwise noted. vm 1 It is generally agreed that when Gujin xiaoshuo was reprinted in 1626 or 1627 it was retitled Yushi mingyan; see Patrick Hanan, The Chinese Vernacular Story (Cambridge: Harvard University Press, 1981), p. 230 n. 4. For the dissenting view that Gujin xiaoshuo was originally meant to be the general title for all three collections, see Lu Shulun, Feng Menglong yanjiu (Shanghai: Fudan daxue, 1987), pp. 89-94. 2 The collection to which an individual story belongs will be indicated by GJ (for Gujin xiaoshuo/Yushi mingyan), 7Y (tor fingshi tongyan), or HY (for Xingshi hengyan), followed by a number indicating the story's ordinal position in the collection. On the first mention of a story I will give a full translation of its title and use a shortened title thereafter.

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The Popular Chinese Novel

Wan¹

2019

A Companion to World Literature

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The popular novel was one of the most widely available forms of reading material in China in the sixteenth to nineteenth centuries. This chapter defines “popular” in terms of accessibility (measured in numbers of editions) and surveys the thematic genres of the Chinese popular novel, including historical novels, military romances, scholar‐beauty romances, court case novels, tales of deities and eccentric monks, and martial arts novels. As the culmination of many older strands of oral storytelling and literature in China, these novels presented stories that were an integral part of the fabric of the culture. For these reasons, as well as the early availability of many of these works in translation outside China (in both Asia and Europe), popular Chinese novels deserve more attention as world literature.

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The Novel in Seventeenth- Century China

Cited by 51 publications

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Writing and Worship in Deng Zhimo’s Saints Trilogy

Writing and Worship in Deng Zhimo’s Saints Trilogy

Appropriation and Representation

The Popular Chinese Novel

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