From May Fourth to June Fourth Fiction and Film in Twentieth-Century China

ISBN-10: 0674325028
ISBN-13: 9780674325029
Edition: 1993
List price: $44.50 Buy it from $3.00
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Description: What do the Chinese literature and film inspired by the Cultural Revolution (1966-1976) have in common with the Chinese literature and film of the May Fourth movement (1918-1930)? This new book demonstrates that these two periods of the highest  More...

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Book details

List price: $44.50
Copyright year: 1993
Publisher: Harvard University Press
Publication date: 1/1/1993
Binding: Paperback
Pages: 458
Size: 6.25" wide x 9.25" long x 1.25" tall
Weight: 1.232
Language: English

What do the Chinese literature and film inspired by the Cultural Revolution (1966-1976) have in common with the Chinese literature and film of the May Fourth movement (1918-1930)? This new book demonstrates that these two periods of the highest literary and cinematic creativity in twentieth-century China share several aims: to liberate these narrative arts from previous aesthetic orthodoxies, to draw on foreign sources for inspiration, and to free individuals from social conformity. Although these consistencies seem readily apparent, with a sharper focus the distinguished contributors to this volume reveal that in many ways discontinuity, not continuity, prevails. Their analysis illuminates the powerful meeting place of language, imagery, and narrative with politics, history, and ideology in twentieth-century China. Drawing on a wide range of methodologies, from formal analysis to feminist criticism, from deconstruction to cultural critique, the authors demonstrate that the scholarship of modern Chinese literature and film has become integral to contemporary critical discourse. They respond to Eurocentric theories, but their ultimate concern is literature and film in China's unique historical context. The volume illustrates three general issues preoccupying this century's scholars: the conflict of the rural search for roots and the native soil movement versus the new strains of urban exoticism; the diacritics of voice, narrative mode, and intertextuality; and the reintroduction of issues surrounding gender and subjectivity.

Preface
Acknowledgments
Introduction David Der-wei Wang part:1 Country and City
Visitation of the Past in Han Shaogong's Post-1985 Fiction
Past, Present, and Future in Mo Yan's Fiction of the 1980s
Shen Congwen's Legacy in Chinese Literature of the 1980s
Imaginary Nostalgia
Urban Exoticism in Modern and Contemporary Chinese Literature Heinrich Fruehauf part: 2 Subjectivity and Gender
Text, Intertext, and the Representation of the Writing Self in
Invention and Intervention: The Making of a Female Tradition in Modern Chinese Literature
Living in Sin: From May Fourth via the Antirightist Movement to the Present Margaret H. Decker part: 3 Narrative Voice and Cinematic Vision
Lu Xun's Facetious Muse: The Creative Imperative in Modern Chinese Fiction
Lives in Profile: On the Authorial Voice in Modern and Contemporary Chinese Literature Theodore Huters
Melodramatic Representation and the "May Fourth" Tradition of Chinese Cinema
Male Narcissism and National Culture: Subjectivity in Chen Kaige's King of the Children
Afterword: Reflections on Change and Continuity in Modern Chinese Fiction
Notes
Contributors

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