Popular Chinese Literature and Performing Arts in the People's Republic of China, 1949-1979

1986 ◽  
Vol 60 (1) ◽  
pp. 176
Author(s):  
Howard Goldblatt ◽  
Bonnie S. McDougall
Keyword(s):  
Performing Arts ◽  
Chinese Literature ◽  
People’S Republic Of China ◽  
People's Republic Of China ◽  
Republic Of China

“HOW MUCH TRUTH CAN A BLADE OF GRASS CARRY?”: Ch'en Ying-chen and the Emergence of Native Taiwanese Writers

1973 ◽  
Vol 32 (4) ◽  
pp. 623-638 ◽  
Author(s):  
Joseph S. M. Lau
Keyword(s):  
Chinese Literature ◽  
Modern Chinese Literature ◽  
People’S Republic Of China ◽  
People's Republic Of China ◽  
The West ◽  
Republic Of China ◽  
Modern Chinese ◽  
Ying Chen ◽  
Nationalist Government

Though Taiwan has since 1949 been the seat of the Nationalist Government and the domicile of several millions of exiled Chinese, no serious literature has been produced until the late fifties.1 Explanations are not difficult to give. For one thing, since nearly all the important figures of modern Chinese literature have remained in the People's Republic of China,” their works are therefore proscribed for political reasons. Cut off from their mainland base, the disinherited young Taiwanese writers, having no native idols to emulate and anxious to create a tradition of their own, could only import from the West whatever “isms” they considered to be the literary fashions of the day—symbolism, surrealism, existentialism, futurism, modernism, phenomenalism, etc. Quite often, however, what they regarded as daring experiments at the time of initiation later turned out to be

Discursive Heterogeneity in Chinese Literature

2016 ◽  
Vol 12 (4) ◽  
Author(s):  
Lelia Gándara ◽  
María Florencia Sartori
Keyword(s):  
Chinese Literature ◽  
Culture Contact ◽  
People’S Republic Of China ◽  
People's Republic Of China ◽  
Mo Yan ◽  
Literary Works ◽  
Language And Culture ◽  
Republic Of China ◽  
Discursive Strategies ◽  
Contemporary Chinese

AbstractIn this paper we explore the marks of discursive heterogeneity in literary works produced in situations of language and culture contact. We analyze novels written by contemporary Chinese authors who live outside the People’s Republic of China and produce their work in English and French: Qiu Xiaolong (裘小龙) and Dai Sijie (戴思杰), respectively. We address marks of heteroglossia and discursive heterogeneity and explore the construction of the narrator and the narratee in their novels. In order to validate our analysis, we compare these authors with a Chinese writer who lives and produces his work in China: Mo Yan’s on his French and Spanish translated novels. Taking into account the discursive strategies deployed and the polyphonic marks, we demonstrate that Qiu and Dai construct Chinese narrators and Western narratees, while Mo Yan constructs Chinese narrators and narratees. In our analysis we apply notions of polyphony from Bakhtin and Ducrot, rhetoric concepts from Olbrecht-Tyteca and Per elman, the notion of discursive heterogeneity by Authier, and the discursive ethos analysis proposed by Maingueneau.

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