This paper offers a new interpretation of Zhao Shuli＇s （1906-70） stories by examining how his efforts were coinciding, or sometimes perhaps in conflict, with the Communist Party of China＇s mandate of creating a ＂...This paper offers a new interpretation of Zhao Shuli＇s （1906-70） stories by examining how his efforts were coinciding, or sometimes perhaps in conflict, with the Communist Party of China＇s mandate of creating a ＂new direction＂ for society. The discussions of his stories reveal the general historical experience of a rural society in transition in the ＂liberated area.＂ There are two major themes： social improvement under the intervention of the new government, and the ＂standing up＂ of the subaltern peasant class. These motifs often overlap to various degrees, and sometimes there is a hybrid narrative which combines the two. The last section of this paper briefly explores the supposed paradox of Zhao Shuli＇s ＂direction,＂ its contributions to representing and educating the masses, and its limitations in fulfilling the party＇s long-term ideological goal of reforming the peasants＇ ethical-moral world.展开更多
In this essay I engage with Fredric Jameson＇s theoretical works and ideas, especially his concept of national allegory, and examine their possibilities and limits for use in literary analysis of Modem Chinese Literat...In this essay I engage with Fredric Jameson＇s theoretical works and ideas, especially his concept of national allegory, and examine their possibilities and limits for use in literary analysis of Modem Chinese Literature. In particular, I examine the themes of the nation and the passage of time in the works of Yu Dafu, Lao She, Xiao Hong, and Zhao Shuli and argue for evidence of a historical development from cyclical narrative to messianic and utopian linear time in their novels. While Yu Dafu＇s ＂Sinking＂ （Chenlun） and Lao She＇s Camel Xiangzi （Luotuo Xiangzi） both display a desire to break free from cyclical time and narration, the narratives fold back into themselves. In contrast, Xiao Hong＇s The Field of Life and Death （Shengsi chang） mediates between two different temporal schemes and marks a transition to the linear developments prevalent in Socialist Realist novels such as Zhao Shuli＇s Sanliwan Village （Sanliwan）. While Jameson＇s earlier works on Realism, Marxism, and the ＂Political Unconscious＂ all provide valuable insight into Modem Chinese Literature and the novels mentioned, Jameson＇s engagement with Chinese authors has also opened up new ways of examining Chinese literature.展开更多
This essay has a question for Shu Zha in Qiao Zhou’s biography of SanGuoZhi. From Qiao Zhou’ s teacher and students, his works and the character Li’s writing form, the author considers that the word Li is confused ...This essay has a question for Shu Zha in Qiao Zhou’s biography of SanGuoZhi. From Qiao Zhou’ s teacher and students, his works and the character Li’s writing form, the author considers that the word Li is confused with the word Zha, so the phrase Shu Zha should be Shu Li.展开更多
Han Shuli was born in Beijing in 1948 and graduated from the Central Academy of Fine Arts.He has been living and painting in Tibet since 1973 and is now President of the Tibetan Artists’Association.In his work,Han lo...Han Shuli was born in Beijing in 1948 and graduated from the Central Academy of Fine Arts.He has been living and painting in Tibet since 1973 and is now President of the Tibetan Artists’Association.In his work,Han looks to the traditional thangka,using mineral pigments on cloth,to create his own unique展开更多
文摘This paper offers a new interpretation of Zhao Shuli＇s （1906-70） stories by examining how his efforts were coinciding, or sometimes perhaps in conflict, with the Communist Party of China＇s mandate of creating a ＂new direction＂ for society. The discussions of his stories reveal the general historical experience of a rural society in transition in the ＂liberated area.＂ There are two major themes： social improvement under the intervention of the new government, and the ＂standing up＂ of the subaltern peasant class. These motifs often overlap to various degrees, and sometimes there is a hybrid narrative which combines the two. The last section of this paper briefly explores the supposed paradox of Zhao Shuli＇s ＂direction,＂ its contributions to representing and educating the masses, and its limitations in fulfilling the party＇s long-term ideological goal of reforming the peasants＇ ethical-moral world.
文摘In this essay I engage with Fredric Jameson＇s theoretical works and ideas, especially his concept of national allegory, and examine their possibilities and limits for use in literary analysis of Modem Chinese Literature. In particular, I examine the themes of the nation and the passage of time in the works of Yu Dafu, Lao She, Xiao Hong, and Zhao Shuli and argue for evidence of a historical development from cyclical narrative to messianic and utopian linear time in their novels. While Yu Dafu＇s ＂Sinking＂ （Chenlun） and Lao She＇s Camel Xiangzi （Luotuo Xiangzi） both display a desire to break free from cyclical time and narration, the narratives fold back into themselves. In contrast, Xiao Hong＇s The Field of Life and Death （Shengsi chang） mediates between two different temporal schemes and marks a transition to the linear developments prevalent in Socialist Realist novels such as Zhao Shuli＇s Sanliwan Village （Sanliwan）. While Jameson＇s earlier works on Realism, Marxism, and the ＂Political Unconscious＂ all provide valuable insight into Modem Chinese Literature and the novels mentioned, Jameson＇s engagement with Chinese authors has also opened up new ways of examining Chinese literature.
文摘This essay has a question for Shu Zha in Qiao Zhou’s biography of SanGuoZhi. From Qiao Zhou’ s teacher and students, his works and the character Li’s writing form, the author considers that the word Li is confused with the word Zha, so the phrase Shu Zha should be Shu Li.
文摘Han Shuli was born in Beijing in 1948 and graduated from the Central Academy of Fine Arts.He has been living and painting in Tibet since 1973 and is now President of the Tibetan Artists’Association.In his work,Han looks to the traditional thangka,using mineral pigments on cloth,to create his own unique
