The first works of Chinese vernacular fiction available in the West were published 1735,when the French Jesuit Jean-Baptiste Du Halde compiled translations of three pieces of Chinese vernacular fiction from Jingu qigu...The first works of Chinese vernacular fiction available in the West were published 1735,when the French Jesuit Jean-Baptiste Du Halde compiled translations of three pieces of Chinese vernacular fiction from Jingu qiguan(Marvels Ancient and Modern).These were later translated into English in The General History of China(1736)edited by John Watts.The three stories are"Lu Dalang gives money to re-unite his family","Zhuangzi bangs a drum and becomes an immortal",and"The bad servant sues his master because of a private grudge".The stories are framed by a dual purpose:they were a means to understand the nature of Chinese society,and they were also a pivot in the changing views of China.The moral content of the stories is played out in ambiguous ways,varying between simplistic moral lessons of good and bad rewards for good and bad deeds,and a more amoral tone.展开更多
This paper,analyses how the Chinese writers borrowed the literary genre of detective fiction from the West,but also points out the"indigenous"features of the Chinese detective fiction during the late Qing an...This paper,analyses how the Chinese writers borrowed the literary genre of detective fiction from the West,but also points out the"indigenous"features of the Chinese detective fiction during the late Qing and early republic periods.Further,it examines why a few Chinese writers chose to reshape detective fiction-an imported literary genre-with these indigenous features.While earlier studies argue that the"old htterateurs"in modem China represented the conservative forces,I believe that these writers were in fact well aware of the impact of Western ideologies and intellectual trends on the Chinese society.Their preference of the indigenous,therefore,was not a bhnd choice but a conscious act of resistance.Unlike the"New Literature"writers'positive responses to Westem ideas,this group of writers treated Western ideas not as the way-to save the motherland.Rather,they viewed the"hegemony"of the empires with alarm,and resorted to a set of traditional Chinese cultural values for ways of precluding such hegemony.Their efforts of reshaping detective fiction by this means,I argue,sheds a new light on the cultural transformation of the Chinese society-and,more broadly,of the Asian societies-during this time.That is,such transformation figured not simply as the great triumph of the West over the Asian societies,but rather suggested a dynamic process of cultural collisions and re-creation.展开更多
since the establishment of the People’s Republic of China,the central leader-groups from generation to generation have been continuously exploring and innovating Marxist political party theory in terms of its value t...since the establishment of the People’s Republic of China,the central leader-groups from generation to generation have been continuously exploring and innovating Marxist political party theory in terms of its value target,ideological construction,working style,and organization developments.This process can be categorized into five stages:the founding stage in Mao Zedong’s era,the development stage in Deng Xiaoping’s ear,the promotion stage in Jiang Zemin’s times,the deepening stage under Hu Jintao’s leadership,and the stage of further innovation by Xi Jinping in the new era,with the characteristics of inheritance,development as well as scientificity and valuation.展开更多
基金the staged achievement of the National Social Science Fund of China(国家社科基金青年项目No:15CZW023)
文摘The first works of Chinese vernacular fiction available in the West were published 1735,when the French Jesuit Jean-Baptiste Du Halde compiled translations of three pieces of Chinese vernacular fiction from Jingu qiguan(Marvels Ancient and Modern).These were later translated into English in The General History of China(1736)edited by John Watts.The three stories are"Lu Dalang gives money to re-unite his family","Zhuangzi bangs a drum and becomes an immortal",and"The bad servant sues his master because of a private grudge".The stories are framed by a dual purpose:they were a means to understand the nature of Chinese society,and they were also a pivot in the changing views of China.The moral content of the stories is played out in ambiguous ways,varying between simplistic moral lessons of good and bad rewards for good and bad deeds,and a more amoral tone.
文摘This paper,analyses how the Chinese writers borrowed the literary genre of detective fiction from the West,but also points out the"indigenous"features of the Chinese detective fiction during the late Qing and early republic periods.Further,it examines why a few Chinese writers chose to reshape detective fiction-an imported literary genre-with these indigenous features.While earlier studies argue that the"old htterateurs"in modem China represented the conservative forces,I believe that these writers were in fact well aware of the impact of Western ideologies and intellectual trends on the Chinese society.Their preference of the indigenous,therefore,was not a bhnd choice but a conscious act of resistance.Unlike the"New Literature"writers'positive responses to Westem ideas,this group of writers treated Western ideas not as the way-to save the motherland.Rather,they viewed the"hegemony"of the empires with alarm,and resorted to a set of traditional Chinese cultural values for ways of precluding such hegemony.Their efforts of reshaping detective fiction by this means,I argue,sheds a new light on the cultural transformation of the Chinese society-and,more broadly,of the Asian societies-during this time.That is,such transformation figured not simply as the great triumph of the West over the Asian societies,but rather suggested a dynamic process of cultural collisions and re-creation.
文摘since the establishment of the People’s Republic of China,the central leader-groups from generation to generation have been continuously exploring and innovating Marxist political party theory in terms of its value target,ideological construction,working style,and organization developments.This process can be categorized into five stages:the founding stage in Mao Zedong’s era,the development stage in Deng Xiaoping’s ear,the promotion stage in Jiang Zemin’s times,the deepening stage under Hu Jintao’s leadership,and the stage of further innovation by Xi Jinping in the new era,with the characteristics of inheritance,development as well as scientificity and valuation.
