This study examines critical essays and imaginative fiction by three key writers of the Republican period： Mao Dun, Ba Jin and Lu Yin. I argue that, while Mao Dun and Ba Jin fuse elements of classical Chinese and mod...This study examines critical essays and imaginative fiction by three key writers of the Republican period： Mao Dun, Ba Jin and Lu Yin. I argue that, while Mao Dun and Ba Jin fuse elements of classical Chinese and modem Western sources so as to create strong heroines and a critique of ＂new men＂ for the purpose of revolutionary cultural and national reform, Lu Yin foregrounds an inward examination of the self, multiple narrative points of view and a dialogical perspective which fuses her protagonists＇ interior consciousness with external reality as well as other characters＇ streams of feeling and thought. My reading of Lu Yin＇s texts reveals that she not only succeeds in bringing communion and solace to her readers but also creates ＂moments of being,＂ markedly similar to Virginia Woolf＇s modernist aesthetics and Walter Benjamin＇s mosaic-like ＂moments of recognition,＂ which allow her characters to perceive ＂wholeness＂ from fragmentary flashes of understanding. These intense moments of awareness enhance Lu Yin＇s dialogic imagination and enable her to create discursive feminine narratives that convey the full complexity of women＇s consciousness while simultaneously resisting the male realist literary discourse and strengthening her feminist-activist agenda in the national public sphere.展开更多
Mao Dun＇s seminal trilogy Eclipse was written in 1927-1928, directly after the failed Nanchang uprising. The trilogy is exceptional at least in part because it contains the author＇s frustration and inner conflict th...Mao Dun＇s seminal trilogy Eclipse was written in 1927-1928, directly after the failed Nanchang uprising. The trilogy is exceptional at least in part because it contains the author＇s frustration and inner conflict that came from trying to understand this devastating loss. In 1954, while he served as the Minister of Culture for the People＇s Republic of China, Mao Dun made fundamental and sweeping edits to all three novels. He made changes in an effort to suit the changed political situation, to make his narrative voice more consistent, to make his characters more stereotypical, and in some cases, to tone down the more explicit sensuality of the original texts. However, through an analysis of these alterations, this paper shows that the edited edition is a diminished work.展开更多
文摘This study examines critical essays and imaginative fiction by three key writers of the Republican period： Mao Dun, Ba Jin and Lu Yin. I argue that, while Mao Dun and Ba Jin fuse elements of classical Chinese and modem Western sources so as to create strong heroines and a critique of ＂new men＂ for the purpose of revolutionary cultural and national reform, Lu Yin foregrounds an inward examination of the self, multiple narrative points of view and a dialogical perspective which fuses her protagonists＇ interior consciousness with external reality as well as other characters＇ streams of feeling and thought. My reading of Lu Yin＇s texts reveals that she not only succeeds in bringing communion and solace to her readers but also creates ＂moments of being,＂ markedly similar to Virginia Woolf＇s modernist aesthetics and Walter Benjamin＇s mosaic-like ＂moments of recognition,＂ which allow her characters to perceive ＂wholeness＂ from fragmentary flashes of understanding. These intense moments of awareness enhance Lu Yin＇s dialogic imagination and enable her to create discursive feminine narratives that convey the full complexity of women＇s consciousness while simultaneously resisting the male realist literary discourse and strengthening her feminist-activist agenda in the national public sphere.
文摘Mao Dun＇s seminal trilogy Eclipse was written in 1927-1928, directly after the failed Nanchang uprising. The trilogy is exceptional at least in part because it contains the author＇s frustration and inner conflict that came from trying to understand this devastating loss. In 1954, while he served as the Minister of Culture for the People＇s Republic of China, Mao Dun made fundamental and sweeping edits to all three novels. He made changes in an effort to suit the changed political situation, to make his narrative voice more consistent, to make his characters more stereotypical, and in some cases, to tone down the more explicit sensuality of the original texts. However, through an analysis of these alterations, this paper shows that the edited edition is a diminished work.
