Contemporary Chinese Literature Research Articles

Retraction: Research on the Construction of Contemporary Chinese Literature and Art Subject Knowledge System Based on Computer Technology (J. Phys.: Conf. Ser. 1648 032048)

This article has been retracted by IOP Publishing following an allegation that raises concerns this article may have been created, manipulated, and/or sold by a commercial entity. In addition, IOP Publishing has seen no evidence that reliable peer review was conducted on this article, despite the clear standards expected of and communicated to conference organisers. The authors of the article have been given opportunity to present evidence that they were the original and genuine creators of the work, however at the time of publication of this notice, IOP Publishing has not received any response. IOP Publishing has analysed the article and agrees there are enough indicators to cause serious doubts over the legitimacy of the work and agree this article should be retracted. The authors are encouraged to contact IOP Publishing Limited if they have any comments on this retraction. Retraction published: 16 September 2022

Research on the Construction of Contemporary Chinese Literature and Art Subject Knowledge System Based on Computer Technology

Knowledge system is a new theoretical research field in the field of Humanities and social sciences. To study the axiology knowledge and value neutrality in the history of western thought through computer technology, it is helpful to provide reference for the theory of literature and art. This paper first analyses the influence of Western knowledge and knowledge system on China, and then discusses the evolution of knowledge concept in the history of thought, as well as the anxiety consciousness of literature and art research. Finally, the paper gives the strategy of value reconstruction in knowledge production and knowledge construction of literature and art.

Avrupa ve Amerika’da Modern ve Çağdaş Çin Edebiyatı Çevirileri

With the development of China's economic and international status, countries around the world have begun to understand Chinese culture, language, history, and literature. Chinese literature has attracted more and more attention from foreign readers. At the same time, translation and dissemination of Chinese literature have begun too. Since 2009, the Chinese government has launched a large-scale literary translation and publishing project. Through this project, dissemination of Chinese literature has achieved certain results overseas. However, the reception of modern and contemporary Chinese literature abroad is still not very stable. This research introduces the dissemination of modern and contemporary Chinese literature translation in Europe and America. It initially sketches out the translation of Chinese literature abroad, then it introduces famous overseas institutions conducting Chinese teaching and literary studies and journals of Chinese literature as a background. Within this framework, Chinese literature translations of the American Sinologist Howard Goldblatt, the German Sinologist Wolfgang Kubin, the British Sinologist Julia Lovell and their works are chronologically discussed. Their translated works make a significant contribution to the spreading of Chinese literature in the world.

La divulgación de la cultura y la literatura chinas en el mundo hispanohablante

In the last decades, there has been a strong impulse in the development of cultural exchanges between the Spanish-speaking world and China, thanks to the establishment and strengthening of strategic and collaborative relations between both parties. A growing enthusiasm for learning Chinese and knowing Chinese culture has emerged in the Spanish-speaking world, especially in Latin America. The following interview will provide us with detailed information about the general situation of the diffusion of Chinese language and culture in the Spanish-speaking world, the dissemination of contemporary Chinese literature through translation and its reception in these countries, as well as the difficulties inherent to the Chinese-Spanish and Spanish-Chinese translation-related activities and the obstacles that hinder intercultural communication.

FOCUS: Through Chinese Eyes

In this FOCUS, eight contemporary Chinese literature scholars, in four articles, give their view of (some aspects of) the reception of Chinese literature and theory in Europe during the twentieth century. In the first article, Shunqing Cao and Zhoukun Han discuss how Chinese literature has been read and misread in Europe, but also how it has given rise to literary innovations in European literature and theory. Peina Zhuang and Yina Cao detail how the earliest English-language history of Chinese literature at the turn of the twentieth century presented a very one-sided perspective of its subject. Qilin Fu and Shubo Gao trace the reception of Maoist Marxism in European literature and philosophy in the 1960s and 1970s. Yirong Hu and Lin Mei, finally, hold a plea for a redefinition of imagology to better account for the image of China in Europe and the West in an age of new global media.

When Literary Relations End

Abstract Of the existing approaches to engaging with world literature, Pascale Casanova’s contribution remains the most prescient and relevant to the contemporary world. In this paper, I examine Casanova’s legacy in the context of contemporary Chinese literature – not only as the Sinophone, Chinese, or diasporic, but also in terms of the diverse genrification and creation of new types of media for literary inscription that border on obliterating the primacy of literary aesthetics. Is this a threat to the literary establishment, as it has been practiced, critiqued, and known in the European lineage? I argue that the literary space has never been in starker contrast with the world space, and that the emergence of a different “world normal” is challenging and fortifying Casanova’s legacy in deeply profound ways. To be examined, among others, are recent debates over world and Sinophone literature, science fiction, internet fiction, and diasporic writings.

근대 중국 미술 개념과 문학의 조우 및 소통 시탐(試探)

This study aims to shed light on the concept and value perception of modern Chinese art, and to re-examine it from the overall perspective of literary theory. Specifically, this study is based on trends and perceptions of modern art concepts in East Asia, encounters in contemporary Chinese art and literature, and communication between modern Chinese art concepts and essentialism of literature: The process was divided into three parts, from the utilitarian value of art to the acquisition of independent status in literature. First, the trends and perceptions of East Asian modern art concepts were examined. In the case of Japan, it can be seen that utilitarian values are perceived to promote national policy in the trend of modernization. In terms of China, Kang Youwei(康有爲) insisted that “the social function of art and artists should be emphasized, and national education and nationality reconstruction should be carried out together.” Cai Yuanpei(蔡 元培) emphasized the universality and transcendence of beauty. Since the 1900's, it has been discussed in Liang Qichao(梁啓超), Wang Guowei(王國維) and Lu Xun(魯迅). The fact that the concept of beauty or art mentioned in Chinese modern literary literature is connected with Western and Japanese modern times serves as a clue to the formation of Chinese modern literary discourse. Therefore, as a first step of the study, this study examined the concept of Japanese art, the accepting aspect of China, and the trend of modern Chinese art. Second, the encounter between modern Chinese art and literature was examined. If the use of the term art mentioned in literary literature is largely focused on utilitarian aspects, Wang Guowei disagrees with the discussions of the time. He considered “fiction belongs to the category of art,” and he considered “the best of Chinese poems, plays, and novels.” Huang Ren(黃人) also said that “fiction is one of the aesthetically oriented literatures,” which is the beginning of the encounter between beauty and literature. Zhou Zuoren(周作人) also recognized that the novel was clearly a sentence and a work of art. Guan Daru(管達如) and Lu Simian(呂思勉) then systematically organized the theory of the novel in general. In particular, Guan Daru attempts to position each of literature, art and fiction on the premise that “literature is a kind of art, fiction is also a kind of literature.” In short, as art begins to be discussed with literature, journalists link “beauty and literature” and “beauty and novels.” And with the understanding of literature in general, the position between art, literature and fiction becomes clearer. Third, this study examined the process from granting utilitarian value of art to acquiring independent status of literature, focusing on communication between modern Chinese art concept and literary essentialism. Xia Ren(俠人) talks about the ratio of fiction between fiction and history, emphasizing the creation of fictional realms and focusing on the essential characteristics of fiction. In other words, the literary value of the novel is highlighted. In addition, he pays attention to the utility values and literary characteristics of novels and moves his eyes to the aesthetic values of novels. Huang Ren paid attention to the useful value of the novel based on an aesthetic angle. Wang Guowei, on the other hand, strongly argues that if philosophy and art are the means of morality and politics, then the work is ultimately worthless. This claim completely overcomes the view of traditional Chinese literature and emphasizes the true independence of literature. Lu Simian systematized theories of novel creation based on the recognition that novels are artistic creations. In particular, the point of meaningfully discussing the fictional novels by dividing the novels is that they also pay attention to the value of literature itself.

Introduction on “Internal Reflection and Historical Potential: The Activation of the Research on Chinese Contemporary Literature”

Introduction on “Internal Reflection and Historical Potential: The Activation of the Research on Chinese Contemporary Literature”

The Issue of “Women’s Literature” in Contemporary Chinese Literature: Creators of Style and A Wide Range of Themes

The Issue of “Women’s Literature” in Contemporary Chinese Literature: Creators of Style and A Wide Range of Themes

Two Enlightenments on Chinese Literature Going Out: By Comparing Wolf Totem With China in Ten Words

China still has a serious cultural deficit in international cultural exchanges, and few contemporary Chinese literature works are successfully translated and communicated in foreign countries. However, both Wolf Totem and China in Ten Words have been on Amazon’s list of best sellers after their English versions were published in the United Kingdom and the United States. Based on comparison between them, this paper aims to find the similarities and differences between Wolf Totem and China in Ten Words , and then get two enlightenments on Chinese literature going out: First, successful translation and communication of Chinese literature works share some similarities. Successfully finding the similarities will be conductive to Chinese literature going out. Second, not all successful translation and communication of Chinese literature can objectively and truly present China to the world, taking China in Ten Words as an example. Therefore, the Chinese government should play a more active role in sending out Chinese literature works which could construct China’s national image.

Cultural Confidence in the Teaching of Chinese Contemporary Literary Classics

Abstract: Taking the teaching of <novel research in the new era> as an example, this paper discusses the teaching problems of Chinese contemporary literature classics in the context of cultural self-confidence in the new era. In the course of teaching, we try to penetrate cultural factors into the analysis of literary works. This kind of classroom teaching method, from the human love of literature to the philosophical level of literature, and then to the aesthetic level of literature, goes deep layer by layer. In this way, cultural education has been brought into the scope of classroom teaching, which is of great significance to cultivate the cultural self-confidence of college students.

The City as the Protagonist

This essay explains why Xu Zechen, a writer who lived for eighteen years in the countryside, decided to take the city as the protagonist of his fiction. He does not have the confidence to effectively present the countryside in the form of fiction because he was not born in the countryside. No matter how hard he tries, he can never follow the tradition created by the Chinese writers born in the 1950s, who excel at writing about the countryside. Although urban literature has always been marginalized in contemporary Chinese literature, Xu would still painstakingly make a way of his own to write about Beijing, the city he is living in. After writing several novels on Beijing, the city has become the standpoint from which he views the world.

Переосмысление ценностных установок китайского социалистического реализма в романе Чжан Вэя «Старый корабль»

The article conducts a re-evaluation of values of Chinese socialist realism using Zhang Wei's novel “Ancient Ship” (1986) as an example. The novel’s key characters are analyzed in detail, while taking into consideration the values and semantic structures of earlier Chinese novels, the so-called “Red classics” of the 1950s. The narrative’s land reform taking place in rural China is used as a significant example of the re-evaluation of socialist realism’s values and their direction, in comparison with Ding Ling’s “The Sun Shines over the Sanggan River” (1948). Using specific examples, the article reveals that the main directions of the re-evaluation of socialist realism’s values are the author’s critique of the so-called “revolutionary history”, which is demonstrated as being inseparable from violence, chaos, and pursuing personal and clan interests. Zhang Wei achieves this through a series of narrative and descriptive creative strategies. The findings presented in the article are aimed at demonstrating that the “revolutionary history” is not only an important topic in contemporary Chinese literature, but also serves as a way for writers to deal with “revolutionary history” changes alongside new developments in Chinese literature.

An Overview of Developments and Trends in Modern and Contemporary Chinese Literature

This paper analyses the development of Chinese modern and contemporary literary trends and phenomena from the perspectives of modernity and postmodernism and gives readers a comprehensive understanding of modern and contemporary Chinese literature. The author traces the origin of the expression “Chinese modern and contemporary literature” and summarizes the important aspects of the revolution of Chinese literature which have led to the creation of modern and contemporary Chinese literature. In this paper, the author examines the influence of great Western thinkers such as Freud, Nietzsche, Heidegger, and Sartre who have made outstanding and lasting contributions to the development and reform of modern Chinese literature in different literary circles. In addition, the author highlights some of the prominent literary themes that permeate Chinese modern literature and discusses the changes in the attitude of literary scholars to different literary genres. This paper also discusses the popular trends of modern Chinese literature and the development trend of postmodern literature. Keywords: modernity, modern and contemporary literature, Chinese literature, literary trends, literary genres DOI : 10.7176/JLLL/62-08 Publication date: November 30 th 2019

One Belt – One Way: Perspectives on the Research and Distribution of Contemporary Literature in China

Project One Belt – One Way opens up new opportunities. On the one hand, to provide for the translation of contemporary Chinese authors into foreign languages, and on the other, to carry out a literary analysis of these works in terms of principles and methods characteristic of Western literary criticism. And this will allow the literary circles of various countries to consider contemporary Chinese literature as part of the world cultural heritage.

Homeward Bound Translingualism: (Re)Translating Dai Sijie’s Autonarration

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”.

韓少功소설을 통해 본 예술적 의미로서의 현대성 고찰

This paper aims to examine the characteristics of ‘modernity’ demonstrated in Han Shao Gong’s novel 『爸爸爸』(1985) and 『女女女』(1986) from an artistic perspective. As Han Shao Gong’s novels achieved the name of novel with philosophical principles, his works have been studied with the thesis of ‘philosophical thinking.’ However, there have been limitations in explaining his literary world solely with philosophical thinking as his works are of explorations with literature, history and philosophy integrated. As to theory of art, an art historian Jo Junggeol (2012) stated “Modernism mentioned on philosophy refers to modern philosophical ideologies and it is a notion of common noun. Modernism in art, however, is used as a stylistic name like terms such as romanticism, realism and impressionism.” In other words, he regarded modernity in art as something that should be distinctive from a common noun. Starting from the aforementioned issues, this paper is to distinguish the two novels in perspective of art theory and to discuss styles applicable on them. First, this paper suggests ‘superficiality’ of modernism, ‘parody’ and ‘representation’ of neorealism and ‘coincidence’ demonstrated on existentialism as characteristics of ‘modernity.’ Those modernity characteristics shown on Han Shao Gong’s novel were to express ‘how’ instead of ‘what’ Literary expressions embodied by Han Shao Gong were the results from actively embracing Chinese contemporary literature and public demands.

BA TÁC GIA LỚN CỦA VĂN HỌC ĐƯƠNG ĐẠI TRUNG QUỐC THỜI KÌ SAU CẢI CÁCH MỞ CỬA

BA TÁC GIA LỚN CỦA VĂN HỌC ĐƯƠNG ĐẠI TRUNG QUỐC THỜI KÌ SAU CẢI CÁCH MỞ CỬA

One way to produce beauty and poetry: my experiences in teaching Yang Shuo’s prose

ABSTRACTYang Shuo’s prose was once a model of contemporary Chinese middle school literature teaching. He broke through the classical writings of Chinese landscape travelogues, and actively carried out the spirit of “people’s nature” in contemporary literature. He conveyed the distinctive aesthetic tendency of contemporary literature through the brushwork of “sacrifice chapters show true meaning.” However, in today’s university literature education system, Yang’s prose is almost impossible to find a foothold. Regardless of ideological or literary nature, Yang’s prose shows a huge rift in Chinese education and literary education. Through the accumulation of experience in the teaching practice of contemporary literature courses in ten years, this paper attempts to explore the new perspective of literary criticism by examining the comparison between the middle school experience of literature education and the university experience from the perspective of reader acceptance.

LANDSCAPES OF CITY AND LANSIA THAT SUFFER (THE CASE OF FATHER'S SPION GLASS, HUANG YONGMEI WORK)

Abstract. City is a symbol of modernity. The revival of the Urban Fiction genre in contemporary Chinese literature is driven by writers of the 1970s. It portrays not only urban landscapes with the beauty in their works, but also exposes the souls that suffer in urban spaces. As a symbol of a modern, advanced and civilized life portrayed in Huang Yongmei's short story "Rearview Mirror", it has a dark side. Various changes that move to bring progress do not necessarily change the fate and fortune of urban people who live in it. Instead of being able to enjoy a comfortable and orderly urban space, an elderly former truck driver in the text seems to be moving back in time. Huang Yongmei, literary winner of the 7th Lu Xun literary award (2018), builds allegories about denial of the progress or modernity of today's China. The Rearview Mirror property serves as a kind of reminder of how many parts of past lives have been left behind as we go fast in the flow of change. The magnitude of the progress and the change can only be measured by constantly looking back to its rickety and worn-out past. The suffer of the city people in old age is symbolized with the scene of going backwards, as a healing therapy for the abnormal spine due to sitting behind the wheel for too long. When the city people rush over each day, this old man goes backwards. The complexity of big city problems make the elderly desperate. Widower in old age, deceived by false loyalty, habit of going back to the past have turned into a swimming backstroke. Huang Yongmei has arrived to the point of firmness by keeping the urban’s subject away from the sparkling city life that just makes the little people suffer. The Father's Rearview Mirror text asserts that the urban subject who suffers in his last days leave his hometown, for good.