Configurations of Comparative Poetics: Three Perspectives on Western and Chinese Literary Criticism. By Zong-qi Cai. Honolulu: University of Hawai'i Press, 2002. xii, 360 pp. $54.00 (cloth).

2003 ◽  
Vol 62 (3) ◽  
pp. 923-925
Author(s):  
Steven G. Yao
Keyword(s):  
Literary Criticism ◽  
Comparative Poetics ◽  
University Of Hawai'i ◽  
Chinese Literary Criticism

Milton in China ‘Yet Once More’

2017 ◽  
Author(s):  
Bing Yan
Keyword(s):  
Literary Criticism ◽  
World Literature ◽  
Paradise Lost ◽  
Subsequent Discussion ◽  
Recent Developments ◽  
Collaborative Context ◽  
Chinese Literary Criticism ◽  
Near Future

This chapter overviews Chinese reception of Milton, with an emphasis on some of the most well-known Chinese translations of Paradise Lost. Close readings of these translations against Milton’s original demonstrate the difficulties of and resolutions for rendering Milton’s verse specific to Chinese. The subsequent discussion of the paratexts accompanying Chinese translations and of ‘introduction to world literature’ series gives a sense of the collaborative context that has shaped and continues to shape today’s general reception of Milton in China. That politically charged reception, eager to view Milton’s Satan as the embodiment of the poet’s revolutionary spirit, also dominates some recent works of Chinese literary criticism. The chapter ends by conceding that, while Milton scholarship in China has been relatively univocal and is still young, recent developments in world literature promise that innovative and intriguing work on Milton can be expected from China in the near future.

Early Chinese Literary Criticism

1985 ◽  
Vol 105 (4) ◽  
pp. 764
Author(s):  
Madeline Chu ◽  
Siu-kit Wong
Keyword(s):  
Literary Criticism ◽  
Chinese Literary Criticism

Translations, research and reception of Solzhenitsyn’s works in China

2020 ◽  
Vol 1 (1) ◽  
pp. 246-257
Author(s):  
L. Xinmai
Keyword(s):  
Literary Criticism ◽  
Republic Of China ◽  
Chinese Scholar ◽  
Slavic Languages ◽  
Translation Study ◽  
History Of ◽  
Professional Critics ◽  
Chinese Literary Criticism ◽  
Contemporary Chinese ◽  
Innovative Techniques

In the centre of this research is the problem of translation, study and reception of Solzhenitsyn’s works in the People’s Republic of China. A Chinese scholar of Slavic languages and literature, the author points out that Solzhenitsyn studies in China would be understandably interrupted for political reasons only to be resumed later, due to the growing interest in the writer’s works. Starting from 1963, there have been two distinct lines of study: Solzhenitsyn’s biography and his literary legacy. The first topic mainly attracts Chinese writers, historians, cultural scholars, philosophers, and professional critics; they present the readers with biographical facts in the context of the history of Soviet labour camps, dissident movement, etc. The second topic has specialists in Russian studies and foreign literature exploring the eternal topics in Solzhenitsyn’s works as well as his innovative techniques. According to the author, contemporary Chinese literary criticism is concerned with the latter area of research, while reception of Solzhenitsyn’s works is changing from negative to positive.

Burning with Reverence: The Economics and Aesthetics of Words in Qing (1644–1911) China

PMLA ◽  
2006 ◽  
Vol 121 (1) ◽  
pp. 139-155
Author(s):  
Alexander Des Forges
Keyword(s):  
Literary Criticism ◽  
San Francisco ◽  
Civil Service ◽  
General Concept ◽  
Social Meaning ◽  
Parallel Form ◽  
Civil Service Examination ◽  
Late Eighteenth ◽  
Eighteenth And Nineteenth Centuries ◽  
Chinese Literary Criticism

Educated individuals in Qing-dynasty China frequently organized “word-cherishing” societies to collect and dispose of paper with writing on it respectfully. This practice, which was found in Jiangnan-area centers of culture as well as in Chinese communities in diaspora as far removed as San Francisco, reveals a preoccupation among the literati with questions of commensurability between potentially incompatible registers of social meaning. In its emphasis on individual written words (zi) rather than a more general concept of writing (wen), this practice is also indicative of the challenges that literati faced in attempting to compose civil service examination essays in parallel form. It further suggests that the concept of the book and the concept of the fragment of text develop in mutually reinforcing fashion, and it hints at the new significance accorded concrete questions of technique in Chinese literary criticism of the late eighteenth and nineteenth centuries. (AD)

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