At least since the late nineteenth century onwards, Chinese literature as a form of cultural production has been taking place within a specific social space, including writers, critics, journalists, editors, publishers, printers and booksellers. Focusing on people as well as on texts, and looking at what writers did as well as at what they wrote, the essays in this volume draw a vivid and variegated picture of Chinese literary life throughout the modern period. The book treats differences between periods, but also traces the continuities that have characterised modern Chinese literary practice and its discourses from the beginning to the present, including ties of allegiance, utilisation of 'the people' and appropriation of the west. The book places modern Chinese literature firmly within its socio-historical context, thereby increasing the reader's awareness of the hidden assumptions behind literary production. In doing so, it opens new perspectives on Chinese culture as a whole, and on literature as a cosmopolitan concept.
Dealing with the central issue of style in literature, this groundbreaking study is a must for sinologists, but also for all students of comparative literature. Michel Hockx takes as a point of departure the observation that most writers of the Republican period adhered to a distinctly traditional practice of gathering in literary societies, while at the same time displaying a marked preference for publishing their works through the modern medium of the literary journal. The first part of the book analyses different types of societies and their journals. The case studies in part two convey the wider impact of literary collectives and journal publications on literary practice. Convincingly breaking with the 'May Fourth' paradigm, the author proposes a radically new way of understanding the relationship between New Literature and other styles of modern Chinese writing.
Dealing with the central issue of style in literature, this groundbreaking study is a must for sinologists, but also for all students of comparative literature. Michel Hockx takes as a point of departure the observation that most writers of the Republican period adhered to a distinctly traditional practice of gathering in literary societies, while at the same time displaying a marked preference for publishing their works through the modern medium of the literary journal. The first part of the book analyses different types of societies and their journals. The case studies in part two convey the wider impact of literary collectives and journal publications on literary practice. Convincingly breaking with the 'May Fourth' paradigm, the author proposes a radically new way of understanding the relationship between New Literature and other styles of modern Chinese writing.
LONGLISTED FOR THE INTERNATIONAL BOOKER PRIZE 2020 A powerful criticism of modern life by one of the most provocative and prophetic writers of our age Florent-Claude Labrouste is dying of sadness. Despised by his girlfriend and on the brink of career failure, his last hope for relief comes in the form of a newly available antidepressant that alters the brain's release of serotonin. When he returns to the Normandy countryside in search of serenity, he instead finds a rural community left behind by globalisation and red-tape agricultural policies, with local farmers longing for an impossible return towhat they remember as a golden age. 'Despite its provocations, this is a novel of romantic and sorrowful ideas: Houellebecq as troubadour, singing lost loves' Rachel Kushner Michel Houellebecq has good claim to be the most interesting novelist of our times. . . Exhilarating in its nihilism, often very funny and always enjoyable' Evening Standard
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